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ΤΟ
M. R. RY. V. RĀMABHADRA NAIDU GĀRU,
ZAMINDAR OF VADAGARAI,
Periyakulam Taluk, Madura District,
THIS VOLUME
IS RESPECTFULLY
D E D I C A T E D
BY THE EDITOR.
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PREFATORY NOTE.
In the following, I have attempted to place within the easy reach of modern students of Sanskṛit literature, that elementary and classic, but nevertheless difficult treatise on Alankāras, the Kuvalayānanda Kārikās of Appaya Dīkshita, with an English translation, Tīkā commentary, and explanatory notes, so as to enable them to sufficiently understand and digest the subject even in the absence of better teachers.
Among the numerous treatises on the Science of poetry, the KĀVYAPRAKĀSA—the “Illustration of Poetry,”—theSĀHITYA DARPANA—the “Mirror of Composition,”—and the KUVALAYĀNANDA—the “Delight of the moon-lotus,”—are considered the best. Of these, the first-named is by far the most difficult and erudite work, notwithstanding innumerable commentaries thereon by able hands. The second is less difficult, and it is a complete treatise—ne plus ultra—on the whole subject of Sanskṛit composition, including Dramaturgy. The last-named treatise, which is the most elementary as well as the most elegant of all, confines itself only to Alankāras or ‘ornaments’of the language, the portion that forms the subject matter of the tenth chapter of the first two treatises. There already exist excellent English translations of the Kāvyaprakāsa and the Sāhitya-Darpana; yet, they, being higher treatises, are intelligible only to advanced students under the guidance of able teachers. And the Kuvalayānanda, with its elementary definitions of the principal Alankāras and its apt examples, is the work that every student of this branch of Sanskṛit Literature usually commences with. The Kuvalayānanda is a sort of commentary, in the form of notes, and an expansion of the fifth chapter of an ancient work on the Science of poetry, known as the CHANDRĀLOKA by Jayadeva Kavi, who is reputed to have
Hourished about the 12th century of the Christian era and whois more generally known to the public in connection with his charming lyric, the Gīta-Govinda. The author of the Kuvalayānanda is Appaya Dīkshita,* as appears from the penultimate verse of the work :—
अमुं कुवलयानन्दमकरोदप्पदीक्षितः।
नियोगाद् वेङ्कटपतेर्निरुपाधिकृपानिधेः॥
‘AppaDīkshita wrote this Kuvalayānanda under the orders of his (Royal Patron) Venkaṭapati, a store-house of guileless mercy.’
From which it would also appear that he flourished at the court of the king Venkaṭapati and that it was at his suggestion that the treatise was written. This Appaya Dīkshita is admitted on all hands to have been a native of Aḍayappa Agrahāra, near Kānchīpura (the modern Canjeeveram), and to have lived in the 16th century of the Christian era. He not only took the 5th chapter of the Chandrāloka for his basis, but has mostly re-written many of the definitions and examples of that treatise, as he himself says at the very outset:—
येषां चन्द्रालोके दृश्यन्ते लक्ष्यलक्षणश्लोकाः।
प्रायस्त एव तेषामितरेषामभिनवा विरच्यन्ते॥
‘Such verses as are found in the Chandrāloka defining and exemplifying the Alankāras are for the most part adopted here also (with slight modifications); but, for some others, new verses have been composed.’
To these verses so modified or newly composed, our author has also added short elucidatory notes in prose, and to these notes he gave the name of Kuvalayānanda, probably in acknowledgment of his original basis, the Chandrāloka. Thus, he concludes his work with the following very expressive verse:—
__________________________________________________________
* Called also अप्पदीक्षितः, अप्पादीक्षित, अप्यय्यदीक्षितand अप्यय्यादीक्षित।
चन्द्रालोको विजयतां शरदागमसम्भवः।
हृद्यः कुवलयानन्दो यत्प्रसादादभूदयम्॥
‘May this Chandraloka, the cause of its commentary entitledSaradagama, from the contact of both of which this charming Kuvalayānanda originated, be supreme (in this world).’
The other meaning of the verse is :—
‘May the sight of the autumnal moon from the contact of which the delight of the moon-lotus sprang be supreme.’
The verses, alone as modified and finally adopted by Appaya Dīkshita in his treatise, often go by the name of Kuvalayānanda-Kārikās or the memorial verses of Kuvalayānanda,’and these have been separately compiled and edited under the title of KUVALAYĀNANDA KĀRIKĀH by the poet Āśādhara, with a lucid commentary of his own. The verses themselves are, as already mentioned, simple and in elegant style, in the Anushṭubh metre, the first half of each verse defining the Alankāra and the second half exemplifying the same.
Before proceeding to explain the arrangement that I have followed in this work, it may not be out of place to say a word or two as to the necessity of this production and as. to the aim and object which I have had in placing the same before the public. For the acquisition of a sound knowledge of any language, a knowledge of the rules of its Grammar, including Rhetoric and Composition, will be admitted to be essential. This is especially the case when the language in question happens to be not a spoken vernacular,. but an unspoken classical language like the Sanskṛit. All the works in the Sanskṛit Literature are found to have been composed upon fixed principles of Grammar and Rhetoric; and formerly, at any rate, no work that was not in complete accordance with the immutable rules of Sāhitya was ever allowed to be published. And in those days, the authors also, whatever their social position or poetical fame may be, never ventured out
with any composition that did not gain the approval of the learned. One remarkable instance of this which occurred in connection with the publication of the Champū Rāmāyana by king Bhoja might here be given in illustration of the above:—
Bhoja Vikramāditya wrote his Champū– a poem composed in prose and verse— during the absence of his favourite poet Kālidāsa whom the king in one of his angry moods had banished from his court. That great learned king did not dare to publish his poem without first obtaining the approval of the greatest poet of India! Then the whereabouts of Kālidāsa was not known. He therefore proposed to the publie the following Samasyā—a part of the stanza or an incomplete stanza— to be completed:—
कुसुमे कुसुमोत्पत्तिः श्रूयते न च दृश्यते।
‘The production of another flower upon a flower has been heard but not actually seen (anywhere).’
The king expected the appropriate fulfilment of this most difficult Samasyāfrom Kālidāsa alone. He declared publicly that he would bestow upon whoever completed the Samasya half of his kingdom. Kālidāsa’s lady wrote this Samasya upon one of the walls of her bed-chamber where Kālidāsa was living secretly. When he saw the stanza on the wall, he wrote under it addressing the lady whom he thought to be the writer of the same, thus:—
बाले तव मुखाम्भोजे नयनेन्दीवरद्वम्।
‘Young dame! There is a couple of eye-lotuses in thy face-lotus.’
The lady then threw Kālidāsa into a pit specially prepared and let fall a big stone upon him; but she, in her hurry to go to the king to get half of his kingdom, did not stop there to see whether Kālidāsa was completely killed or not. The lady went to the king; and the ready-witted king, seeing the
fulfilment of the stanza addressed to a female and not to a male as it ought to be, if filled up by her, and, thinking that Kālidāsa was living in her house, asked her whether she had spared the life of Kālidāsa. She replied that she had thrown him into a pit and did not know if he had completely expired. The king hurried to the scene of action with his poem in hand. Kālidāsa, only half dead then, said to his weeping king that the human life is unstable, that tolearned people this world is nothing but its proper nothingness, and that he should therefore be allowed to pass the remaining few minutes of his life to meditate upon the Supreme Spirit. The king wanted his poem on divine Rāma to be read over to him so that he may correct all the blemishes contained in it. The king read his poem and a running criticism was made by the Greatest Poet of India, and, when the last stanza of the Sundarakāṇḍa was read, Kālidāsa expired. The king offered to the public his Champū, one of the best poems of the language, up to Sundarakāṇḍa only, the remaining two kāṇḍas, Yuddha-kanda and Uttara-kanda, having been torn away by the king on the spot as they were not perused by Kālidāsa.
Such was the criticism going on in India before the publication of any work. It was the look-out of every critic to see whether the particular work has been composed in strict accordance with the fixed rules of Grammar, Rhetoric etc. Hence, it is necessary that a student should know something of the Grammar, Figures of Speech of the language etc., to enable him to understand a poem. In other words, a student can very easily master a poem if he has known something of the Grammar and Alankāras. For the acquirement of the elements of the Sanskṛit Grammar in its connection with the Language, the First and Second Books of Sanskṛit were placed before the public over 35 years ago by that great oriental scholar, Mr. Rāmakṛishṇa Gopāla Bhanḍarakara; and they still remain as modelText Books of the kind. Let me quote here his own words from the prefaces to his Second Book:—
‘My object has been to render thisas much a Sanskṛit Reading Book as a book on Sanskṛit Grammar; in other words, not only to teach Grammatical forms to the student, but to enable him to construe Sanskṛit.’
* * * * *
‘I was not so sanguine about the success of this book as of the first. But I am very happy to perceive that this also has met with favour, and that along with the first it has become the means, howsoever humble, of facilitating and promoting the study of the language of the ancient Rishis among their modern descendants.’
As for the acquirement of the knowledge of the Alankāras, almost in every institution, the Kuvalayānanda appears to have been recommended as a text book for the B.A. degree students. But in the majority, the students either do not read the book, or they do not care to grasp and digest what their Professors might teach them about these Alankāras. The study of Alankāras is as essential as that of Grammar. No poem contains a verse that is not embellished by one Alankāra or another.For, Alankrās, by adding to the beauty of word and sense; serve to heighten the flavour (RASA) etc.,just as ornaments adorn and beautify the human form. That great learned Dr. R. G. Bhanḍarakara in the preface to the first edition of his First Book of Sanskṛit says truly enough:—
I have heard students complain that they find Sanskṛit moredifficult than Latin. *** I do not know if this complaint has foundation in the structure of the two languages; but this, at least, I am sure of, that Sanskṛit would be considerably more easy than it is, if there were men educated’ in our English Colleges to teach it, and if books specially adapted for beginners were available.*
That the above remarks of the great Bombay Educationist were true, has been amply proved by the very prominent position which his First and Second Books of Sanskṛit have been given in the Indian Educational curriculam. So far as I am
___________________________________________________________________________
*The italics areours.
aware, no such book has till now been placed within the reach of the Sanskṛit students on the subject of Alankāras. And I have therefore ventured to offer this to the public in the sincere hope that it may supply to some extent the long-felt want of the students of this branch of Sanskṛit Literature.
The Alankāras in Sanskṛit are generally classed under three heads, viz. :—
i. शब्दालंकार— Ornament of word;
ii. अर्थालंकार— Ornament of sense;and
iii. शब्दार्थालंकार— Ornament of both word and sense.
Of these, the 2nd class, viz., Ornaments of Sense alone are now treated in the present work. The other two, not being of so much importance, except to very advanced scholars, are not dwelt upon here.
In the present volume, each and every word in the verse containing the definition and the example is given in its prose order (anvaya) in an intelligible way with its English equivalent and a literal English translation of the verse has been given under the same together with all the necessary explanations that are sufficient to help the student in understanding the Figure and its example himself without the assistance of a teacher. In the Appendix, almost all the conventions of poets are given; UPAMĀin its 32 varieties and the APRASTUTAPRASAMSĀin its 5 varieties are treated with their appropriate examples taken from the standard works. Additional examples of certain Figures that require such are also given. The three Figures—ANUMĀNA—‘Inference,’SAMSRISHTI—‘Conjunction,’and SANKARA—‘Commixture,’—which are not found in the body of the book are also defined and exemplified. To it are also appended a more or less scientific classification of the Alankāras treated in the book, and an explanatory note, showing the mutual distinguishing peculiarities of many of the Alankāras.
Now I must mention here. the works I have consulted in the course of the publication of the present volume. The first and foremost of these is the Sāhitya-Darpana of Vishvanātha Kavirāja with its English translation by that distinguished scholar, Rai Bahadur Pramada Dasa Mitra of Benares. Many of the English renderings of the Figures of Speech are adopted from the work of that able orientalist who borrowed the same from Mr. R. T. H. Griffith’s paper on Indian Figures of Speech appended to his Specimens of Old Indian Poetry. The Chandrikā and the Rasikaranjinī,the two famous commentaries on Kuvalayānanda, were also my chief guides. The Kāvyaprakasa and its English translation, the Pratāpa-Rudrīya of Vidyānātha Bhaṭṭa and the Sāhitya-Ratnākara of Śrī Dharma Sūri were also consulted. My heart-felt thanks are also due to Messrs. J. N. Banerjee and Son of Calcutta for their neat execution of the work and for their extreme kindness shown to me in the course of its publication.
In conclusion, I only hope that the work now offered to the public may serve the purpose for which it is intended— namely, to enable the student to thoroughly understand this difficult branch of Sanskṛit Literature without much difficulty and with very little of extraneous help. I am fully aware that, in a work of this kind, there must be several defects and errors, and I most humbly crave the favour of the public, who will have occasion to do me the honour of perusing this little book, to be so good as to point out to me the portions which require amendments or corrections; and I shall be only very willing to give my best consideration to those suggestions in any future edition of the work.
नत्वा कृष्णाभिधं ब्रह्म ह्यांग्लभाषानुवादिनीम्।
कुर्वे कुवलयानन्दकारिकाविवृतिं मुदा॥
MADURA,
21st February, 1903.} P. R. SUBRAḤMAṆYA ŚARMĀ.
LIST OF CONTENTS.
__________
**1. उपमा—**Simile
do. ** लुप्ताः—**Similes Elliptical
**2.अनन्वयः—**Comparison Absolute
**3. उपमेयोपमा—**Reciprocal Comparison
4.प्रतीपम्— Converse
do. 2nd kind
do. 3rd and 4th kinds
do. 5th kind
5. रूपकम्— Metaphor
6. परिणामः— Commutation
**7. उल्लेखः—**Representation
8. स्मृतिमान्— Reminiscence
**9. भ्रान्तिमान्—**Mistaker
**10. सन्देहः—**Doubt
11. अपह्नुतिः— Concealment
(1) do.**शुद्धा ** do. Pure
(2) do. हेतु do. with a Reason
(3) do. पर्यस्ता do. transferred
(4) do. भ्रान्ता do. under a mistake
(5) do. छेका do. of the skilfu।
(6) do. कैतवा do. of the deceitful
12. उत्प्रेक्षा— Poetical fancy
**13. अतिशयोक्तिः—**Hyperbole
(1) a **रूपकातिशयोक्तिः—**Hyperbole Metaphorica।
b do. **सापह्नवा—**Hyperbole founded upon Concealment
** (2) भेदकातिशयोक्तिः—Hyperbole asserting a difference
** (3) संबन्धा ** do. do. a connection
** (4) असंबन्धा do. do. a disconnection
** (5) अक्रमा** do. do. a want of order
** (6) चपला ** do. do.
fickleness
** (7) अत्यन्ता ** do. of the highest degree
**14. तुल्ययोगिता—**Equal Pairing
do. 2nd and 3rd kinds
**15. दीपकम्—**The Illuminator
**16. आवृत्तिदीपकम्—**The Illuminator by repetition
**17. प्रतिवस्तूपमा—**Typical Comparison
**18. दृष्टान्तः—**Exemplification
19.निदर्शना— Illustration
do. 2nd and 3rd kinds
20. व्यतिरेकः— Dissimilitude or Contrast
**21. सहोक्तिः—**Connected description.
22. विनोक्तिः— Speech of Absence
do. 2nd kind
**23. समासोक्तिः—**Modal Metaphor
**24. परिकरः—**Insinuator
25.परिकरांकुरः— Sprout of an Insinuator
**26. श्लेषः—**Paronomasia.
**27. अप्रस्तुतप्रशंसा—**Indirect Description
**28. प्रस्तुतांकुरः—**The Sprout of Direct Description
**29. पर्यायोक्तम्—**Periphrasis
do. 2nd kind
**30. व्यजस्तुतिः—**Artful Praise or Irony
**31. व्याजनिन्दा—**Artful Censure
**32. आक्षेपः—**Hint
do. 2nd kind
do. 3rd kind
**33. विरोधाभासः or विरोधः—**Contradiction
**34. विभावना—**Peculiar Causation
do. 2nd kind
do. 3rd and 4th kinds
do. 5th kind
do. 6th kind
35. विशेषोक्तिः— Peculiar Allegation
**36. असंभवः—**Improbability
**37. असंगतिः—**Disconnection
do. 2nd and 3rd kinds
38. विषमम्— Incongruity
** विषमम्—** 2nd and 3rd kinds
**39. समम्—**The Equa।
do. 2nd and 3rd kinds
**40.विचित्रम्—**Strange
**41. अधिकम्—**Exceeding
do. 2nd kind
42. अल्पम्— Smallness
**43. अन्योन्यम्—**The Reciprocal
44. विशेषः— The Extraordinary
do. 2nd and 3rd kinds
45. व्याघातः— Frustration
do. 2nd kind
46.कारणमाला— Garland of Causes
47. एकावली— The Necklace
**48. मालादीपकम्—**The Serial Illuminator
49. सारः— The Climax
**50. यथासंख्यम्—**The Relative order.
51. पर्यायः— The Sequence
do. 2nd kind
**52. परिवृत्तिः—**The Return
**53. परिसंख्या—**The Special Mention
**54. विकल्पः—**The Alternative
55. समुच्चयः— The Conjunction
do. 2nd kind
56.कारकदीपम्— The Case-Illuminator
**57. समाधिः—**The Convenience
58. प्रत्यनीकम्— The Rivalry
**59. काव्यार्थापत्तिः or अर्थापत्तिः—**The Necessary Conclusion
60. काव्यलिंगम्— The Poetical Reason
**61. अर्थान्तरन्यासः—**The Transition
**62. विकस्वरः—**The Expansion
**63. प्रौढ़ोक्तिः—**The Bold Speech
**64. संभावना—**The Supposition
65. मिथ्याध्ववसितिः— The False Determination
66. ललितम्— The Artful Indication
**67. प्रहर्षणम्—**The Enrapturing
** प्रहर्षणम्—** 2nd kind
do. 3rd kind
**68. विषादनम्—**The Despondency
69. उल्लासः— Abandonment
**70. अवज्ञा—**Non-Abandonment
71. अनुज्ञा— The Permission
**72. लेशः—**Suggestion
73. मुद्रा— The Sealing
74. रत्नावली— The Jewelled Necklace
75. तद्गुणः— The Borrower
**76. पूर्वरूपम्—**The Origina।
do. 2nd kind
**77. अतद्गुणः—**The Non-Borrower
78.अनुगुणः— The Conformity
79. मीलितम्— The Lost
80. सामान्यम्— The Sameness
81. उन्मीलितम्— The Un-Lost
82. विशेषकः— The Un-Sameness
**83. उत्तरम्—**The Reply
do. 2nd kind
84. सूक्ष्मम्— The Subtle
**85. पिहितम्—**The Covering
**86. व्याजोक्तिः—**The Dissembler
87. गूढ़ोतिः— The Secrecy
88. विवृतोक्तिः— Open Speech
89. युक्तिः— Covert Speech
**90. लोकोक्तिः—**Popular Saying
91. छेकोक्तिः— The Skilful Speech
**92. वक्रोक्तिः—**The Crooked Speech
93. स्वभावोक्तिः— Description of Nature
94. भाविकम्— The Vision
95. उदात्तम्— The Exalted
**96. अत्युक्तिः—**The Exaggeration
97. निरुक्तिः— Exposition
**98. प्रतिषेधः—**Prohibition
**99. विधिः—**Fitness
100. हेतुः— The Cause
do. 2nd kind
APPENDIX.
Poetical Conventions
Words expressive of comparison
Terminations expressive of comparison
32 varieties of उपमा (1)
मालोपमा— Garland of Similes
**रशनोपमा—**Girdle of Similes
प्रतिवस्तूपमा (17)— Additional Example
**मालाप्रतिवस्तूपमा ** do.
दृष्टान्तः(18) do.
अप्रस्तुतप्रशंसा (27)— And its 5 varieties
व्याघातः (45)— Additional Example
**परिसंख्या (53) **do.
प्रत्यनीकम् (58) do.
**काव्यलिंगम् (60) **do.
अनुमानम्— Inference
**वक्रोक्तिः—**Additional Example
उदात्तम् (95) do.
संसृष्टिः— Conjunction
सङ्करः— Commixture
Classification of Alankāras
Mutual distinctions of certain Alankāras
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BENEDICTORY VERSES OF OUR AUTHOR.
परस्परतपःसम्पत्फलायितपरस्परौ।
प्रपञ्चमातापितरौ प्राञ्चौ जायापतीस्तुमः॥
‘We glorify that ancient husband and wife, the parents of the universe, each of whom became the fruit of the penance treasure of the other.’
अमरीकबरीभारभ्रमरीमुखरीकृतम्।
दूरीकरोतु दुरितं गौरीचरणपङ्कजम्॥
‘May the foot-lotus of Gaurīmade resonant by the female bees in the masses of braided hairs of the prostrating goddesses!’
_________
AUTHOR’S PREFACE TO THE WORK.
अलंकारेषु बालानामवगाहनसिद्धये।
ललितः क्रियते तेषां लक्ष्यलक्षणसंग्रहः॥
‘This elegant treatise on Alankāras with their concise definitions and apt examples has been composed (by me) for the purpose of enabling the young students to understand the ornaments easily.’
______
Ex. O Kṛishna, thy fame like a she-swan enters the celestial Ganges (or pervades the celestial regions and this earth).
This is an example of पूर्णोपमा (पूर्णा= full, उपमा= simile) ‘simile complete’; for, it contains all the four essentials of comparison, which are:—
1. उपमेयम्, वर्ण्यम् or विषयः—The object compared, i.e., the subject of comparison, such as face &c.
2. उपमानम्, अवर्ण्यम् or विषयी—The object compared to, i.e., the standard of comparison, such as moon, lotus &c.
3. साधारणधर्मः or सामान्यधर्मः or simply धर्मः—The common attribute, i.e., the characteristic resemblance between the two objects (the object compared and the object compared to); or the quality of the said two objects that occasions their similitude such as charmingness or the like.
** 4. उपमावाचकः** or simply वाचकः—The word implying comparison, suchasइव ‘as’ or the like.
In the present example:—
कीर्त्तिः—the object compared
** हंसी**—the object compared to
अवगाहते, i.e, अवगाहनक्रिया= ‘the act of entering or pervading’— the common attribute
** इव**= the word implying comparison.
Observe:— कीर्त्तिः‘fame,’ यशस् ‘reputation’ and हासः‘laughter’are always described as white according to the convention of the poets. Hence, the fame of Kṛishna is compared to a swan which is of white colour.
8 KINDS OF SIMILE ELLIPTICAL.
वण्योपमानधर्माणामुपमावाचकस्य च।
एकद्वित्र्यनुपादानाद्भिन्ना लुप्तोपमाष्टधा॥
[TABLE]
By the omission of one, two or three (of the four requisites of simile complete, i.e., the object compared, the object compared to, the common attribute and the word implying comparison) the simile becomes elliptical and is eightfold, which are:—
1. वाचकलुप्ता— SIMILE in the omission of the word implying comparison.
2. धर्मलुप्ता—Do. Do. of the common attribute.
3. धर्मवाचकलुप्ता—Do.Do. of the common attribute and of the word implying comparison.
4. वाचकोपमेयलुप्ता—Do. Do. of the word implying comparison and of the object compared.
5. उपमानवाचकलुप्ता— Do. Do. compared to and the word parison.
6. उपमानलुप्ता—Do. Do. of the object compared to.
7. उपमानवाचकधर्मलुप्ता—Do. Do. of the object compared to, of the word implying comparison and of the common attribute.
8. उपमानधर्मलुप्ता—Do. Do. of the object compared to and of the common attribute.
Examples of the first four Elliptical Similes in their order.
तड़िद्गौरीन्दुतुल्यास्या कर्पूरन्तीदृशोर्मम।
कान्त्या स्मरवधूयन्ती दृष्टा तन्वी रहो मया॥
[TABLE]
A slender woman was seen by me in a lonely place— a woman (as) yellowish as the lightning; and, having the face like the moon, she acts (like) camphor to my eyes, and by (her) loveliness she acts (herself) like the Goddess of love.
1. तड़िद्गौरी— If this compound is uncompounded, we have तड़िद् इव गौरी, where:—
** तड़िद्**—the object compared to
गौरी— the common attribute
** तन्वी**— the object compared.
We have, in this example, these 3 requisites, but the remaining requisite, the word इव, expressive of comparison, is indirectly omitted; and, in the expansion of the compound, it becomes expressed and so this is the example of the Elliptical Simile, No. 1,— in the omission of the word implying comparison (वाचकलुप्ता).
2. इन्दुतुल्यास्या, when uncompounded, becomes इन्दुनातुल्यं आस्यं यस्याः सा ‘she whose face is like the moon,’where:—
** इन्दुः**— the object compared to
तुल्यम्— the word implying comparison
आस्यम्— the object compared.
Here, we have the above three requisites; and the remaining requisite— the common attribute such as charmingness &c., we have not got. Hence, this is the example of the Elliptical Simile, No. 2,— in the omission of the common attribute (धर्मलुप्ता).
Observe:— With regard to Elliptical Similes in the omission of the common attribute only, the word omission **‘लोपः’**is used strictly in the sense in which it is used in the Pānini’s Sūtra ‘अदर्शनं लोपः’(I. 1. 60) ‘The disappearance is called **‘लोपः’**With regard to the omissions of the other three, i.e., the object compared, the object compared to and the word implying comparison, they are indirectly omitted; but when the compounds which contain them are uncompounded, they come to light, and thus, we see, they are understood. Moreover, the student should note that, without these three requisites, either expressed or understood, there will be no simile at all.
3. कर्परन्ती दृशोर्मम। कर्पूरन्तीis the present participial noun, feminine gender, of the nominal verb ‘**कर्पूरति’**having the क्विप् affix expressive of comparison omitted. If it is uncompounded, it becomes कर्पूरमिव आचरन्ती— ‘she acts like the camphor’, where:—
** (1) तन्वी**—in the second line of the sloka is the object compared and
** (2)कर्पूरम्**—is the object compared to.
Thus, we have here only the above two requisites and the other two ingredients of comparison, the common attribute and the word implying comparison, are omitted. Hence, this is the example of the Elliptical Simile, No. 3,— in the omission of the common attribute and the word implying comparison (धर्मवाचकलुप्ता).
4. कांत्यास्मरवधूयन्ती— by (her) loveliness, she acts (herself) like Kāma’s bride. The compoundस्मरवधूयन्तीis the present participial noun, feminine gender, of the nominal verbस्मरवधूयतिhaving the affix ‘kyach’ (क्यच्) expressive of comparison. If it is uncompounded, it becomes आत्मानम्स्मरवधूम् इव आचरन्ती; where we have
** (1) स्मरवधू**—the object compared to
** (2) कांत्या**—the common attribute
only two essentials of comparison. The other two, i.e., the object comparedआत्मानम्‘herself’ and the word expressive of comparisonइव ‘as’ are indirectly omitted. Hence, we have the example of the Elliptical Simile, No. 4,—inthe omission of the
word implying comparison and the object compared (वाचकोपमेयलुप्ता).
- Examples of the Elliptical Similes Nos. 5 and 6.*
यत्तया मेलनं तत्र लाभो मे यश्च तद्रतेः।
तदेतत्काकतालीयमवितर्कितसम्भवम्॥
[TABLE]
My meeting with that lady, in that lonely place, and my gain of sexual intercourse with that lady— each is an accidental occurrence like the maxim of the crow and the palm fruit.
This is the most puzzling example. The compoundकाकतालीयम्must be first analyzed; but its analysis can be best understood only when the Pānini’s Sūtra समासाच्च तद्विषयात्(V. 3. 106) with its commentary is rightly and fully understood. This Sūtra contains 3 words and one word छःis to be supplied from the preceding Sūtra (V. 3. 105) and the full Sūtra stands thus:—
समासात् च तद्-विषयात् छः।
The affix Chha (ईय) comes, also in the sense of
’like this’, after a compound noun containing in itself the force of ‘like this’ (hidden).
Kāsikā commentary on the Sūtra.
**तद् इत्यनेन प्रकृतः इवार्थः निर्दिश्यते—**By the word तद् the sense of इव, the subject of discussion, is referred to.
इवार्थविषयात् समासात् अपरस्मिन् इवार्थे एव छः प्रत्ययो भवति—
The affix Chha (ईय) comes, only in the second sense of इव like this’, after a compound containing in itself the force of इव.
Examples.
1. काकतालीयम्—Like the maxim of the crow (काक) and the palm fruit (ताल).
2. अजाकृपाणीयम्—Like the death of a goat (अजा) by the accidental falling of a sword (कृपाण).
3. अन्धकवर्त्तिकीयम्—Like the accidental falling of a quail (वर्त्तिकी) into the hands of a blind person (अन्धक).
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अतर्कितोपनतं चित्रीकरणम् उच्यते—Unintentional and strange coincidences are referred to here.
तत् कथम्—
How is that.
काकस्य आगमनम् यादृच्छिकम्— The coming of the crow is accidental.
**तालस्य पतनं च—**As also the (sudden) fall of the palm fruit (on the head of the crow).
तेन तालेन पतता काकस्य वधः कृतः—By the palm fruit thus falling, the death of the crow occurred.
एवं एवदेवदत्तस्य तत्र आगमनम्— In the very same manner, the coming of Devadatta (a person) there.
दस्यूनां च उपनिपातः— In the same manner, the sudden attack of robbers (upon Devadatta).
तैश्च तस्य वधः कृतः— By them (robbers) his (Devadatta’s) death occurred.
तत्र यो देवदत्तस्य दस्यूनां च समागमः, सः काकतालसमागमसदृशः—There, the coincidence of the person Devadatta and the robbers is like that of the crow and the palm fruit.
इति एकः उपमार्थः—This is the first sense of ’like this’ (in the compound काकतालम्).
अतश्च देवदत्तस्य वधः, सः काकतालवधसदृशः—
Then, the killing of Devadatta is like that of the crow by the fall of the palm fruit.
इति द्वितीयः उपमार्थः—This is the second sense of ‘like this’.
तत्र प्रथमे, समासः— In the first case, we have the senseof इव in the compound (काकतालम् hidden).
द्वितीये, प्रत्ययः—In the second case, we have the same, expressed in the affix छ (in the compound काकतालीयम्).
समासश्च अयम् अस्मादेव ज्ञापकात्—The implication of such a compound, having the sense of ’like this’ hidden, is indicated by this Sūtra only.
नहि अस्य अपरं लक्षणंअस्ति—
There is no other rule for the formation of this compound but this indica-
tion (as no such compound with the force of इव is taught in the chapter on compounds).
By a careful study of this Sūtra with its commentary, we come to know that the compound काकतालीयम्contains two senses of ‘इव= like this’ ; the first sense is hidden in the compoundकाकतालम्and the second sense is expressed by means of the affix chha in the compound काकतालीयम्.
The compound काकतालम्if uncompounded, becomes काकः इव, तालमिव which again become काकागमनमिव ’like the coming of the crow’ andतालफलपतनमिव‘like the falling of the palm fruit’.
From the sloka quoted above, let us first take the example for the Elliptical Simile, No. 5,— in the omission of the object compared to and the word implying comparison and consider the same.
यत्तया मेलनम् तत् अवितर्कितसंभवं काकतालम् where मेलनम् is the object compared and अवितर्कितसंभवम् is the common attribute. Here, we have only the above two essentials of comparison. The other two— the object compared to and the word implying comparison, are both hidden in the compound काकतालम्. The coming of the person (पुरुषागमनम्) is compared to the coming of the crow (काकागमनम्) and the coming of the lady is compared to the falling of the palm fruit (तालफलपतनम्). The union of these two, i.e., the person and the lady (तयोःमेलनम्) which is the object compared) is like that of the crow and the palm fruit (काकतालसमागमसदृशम्). The word समागमः, the object compared to, and the word, इव, implying comparison,
are both omitted. Hence, we have the Elliptical Simile, No. 5,— in the omission of the object compared to and the word implying comparison.
Let us then consider the example for the Elliptical Simile No. 6.
लाभो मे यश्च तद्रतेः
तदेतत् काकतालीयम् अवितर्कितसंभवम्॥
Where:—
लाभः is the object compared,अवितर्कितसंभवम् is the common attribute and the compound काकतालीयम्contains the object compared to, ‘उपभोगःeating,’ hidden and the word implying comparison expressed by the affix छ(ईय) because the compound, if uncompounded, becomes काकतालम् इव=*काककृततालोपभोगसदृशः‘like the eating of the palm fruit by the crow’: In this example, we have the above three ingredients of comparison; and the fourth, the object compared to, is omitted. Hence, this is the example of the Elliptical Simile, No. 6,— in the omission of the object compared to.
Now, if we take away the common attribute अवितर्कितसंभवम् from the sloka which contains the examples for the Elliptical Similes Nos. 5 and 6 and substitute in its place ‛अभवत् किं ब्रवीमि ते’= ‘It so
___________________________________________________________________________
* In the Kāsikā commentary on V. 3. 106, this compound stands in its expansion thus— काकतालवधसदृशः‘like the death of the crow by the sudden fall of the palm fruit’. The student should note here that this and the other two similar compounds are used to denote the accidental occurrence whether welcome or unwelcome as the case may be.
chanced; what shall I tell you’; and read the sloka thus:—
यत्तया मेलनं तत्र लाभो मे यश्च तद्रतेः।
तदेतत्काकतालीयमभवत् किं ब्रवीमि ते॥
We have here the omission of the common attribute in the above two examples.
In the first example:—
मेलनम्is the object compared and, of the other three essentials of comparison, the common attribute is directly omitted, and the object compared to and the word implying comparison are indirectly omitted in the compoundकाकतालम् as explained before and so we have the example of the Elliptical Simile, No. 7,— in the omission of the object compared to the word implying comparison and the common attribute (उपमानवाचकधर्मलुप्ता).
In the second example:—
लाभःis the object compared and the compound काकतालीयम् contains the object compared to hidden and the word implying comparison expressed in the affix छand we have no common attribute; so we have the example of the Elliptical Simile, No. 8,— in the omission of the object compared to and of the common attribute (उपमानधर्मलुप्ता).
Thus, in one sloka, we have the examples of the second four Elliptical Similes Nos. 5 to 8. This ornament उपमाis distinguishable from certain other
ornaments such as अनन्वयःNo. II.— ‘Comparison Absolute,’ रूपकम् No. V.— Metaphor, उपयोगपमाNo. III.— Reciprocal Comparison, and व्यतिरेकःNo. XX.— Dissimilitude.
In the Rūpaka, the resemblance is suggested whereas it is expressed here. In the Comparison Absolute, only one object is compared to itself. Here, two different objects are compared.
In the Reciprocal Comparison, two sentences are employed; here, only one sentence.
In the Dissimilitude, contrast also is stated, whereas it is not so in this figure.
For other peculiarities of this figure and its varieties according to Sāhityadarpana and Kāvyaprakāsa and for words expressing comparison &c., see the Appendix.
II. अनन्वयः— ‘COMPARISON ABSOLUTE.’
DEFINITION.
उपमानोपमेयत्वं यदेकस्यैव वस्तुनः।
EXAMPLE.
इन्दुरिन्दुरिव श्रीमान् इत्यादौ तदनन्वयः॥
[TABLE]
When the object compared to and the object compared are one and the same, or in other words, when one and the same object is compared to itself, it is
Comparison Absolute— as in the illustration likeइन्दुरिन्दुरिव श्रीमान् ’the glorious moon is like the moon itself &c.
अनन्वयः = नास्ति अन्वयः ‘connection’ **यस्य सः=**want of connection with any other object in the world in respect of comparison.
The wordइत्यादौ ’et cetera’ comprises such other examples as:—
गगनं गगनाकारं सागरः सागरोपमः।
रामरावणयोर्युद्धं रामरावणयोरिव॥
(As regards spaciousness), the sky is like the sky itself. (As regards vastness), the ocean is similar to the ocean itself. (As regards awfulness), the battle between Rāma and Rāvana is like the battle between Rāma and Rāvana.
Here and in the example given in the text, the self-comparison of the moon, ocean, sky and the battle is to show the non-existence of their like.
In this figure, a sameness of terms would be more expedient for the ready understanding of the identity of the object at the very hearing. ‘इन्दुः इन्दुरिव’ holds better than ‘इन्दुः चन्द्रः इव’ although the latter is a synonym of the former.
III. उपमेयोपमा— ‘RECIPROCAL COMPARISON.’
DEFINITION.
पर्यायेण द्वयोस्तच्चेदुपमेयोपमा मता।
EXAMPLE.
धर्मोऽर्थ इव पूर्णश्रीरर्थो धर्म इव त्वयि॥
[TABLE]
Def. That, i.e., the position of Upamāna and Upameya, when alternated is declared the Reciprocal Comparison.
Ex. In you, O King! thy virtue is as full as (thy) riches; and thy riches as full as thy vertue.
Here, the object of comparing the king’s virtue with his riches and again his riches with his virtue excluding the other similar objects is to show that there is nothing else equal to the virtue &c., of the king.
Observe:— This figure is possible only in two sentences as the interchange of comparisons is impossible in one sentence. The Upamāna in the first sentence becomes Upameya in the second and the Upameya in the first becomes Upamāna in the second in the total absence of a third thing to be compared to. But the figure अनन्वयःNo. II. is possible in one sentence, the object compared to and that compared being the same in the total absence of a second thing to be compared to.
IV. **प्रतीपम्—‘**CONVERSE.’
DEFINITION. प्रतीपमुपमानस्योपमेयत्वप्रकल्पनम्।
EXAMPLE.त्वल्लोचनसमं पद्मं त्वद्वक्तसदृशो विधुः॥
[TABLE]
Def. The assumption of the object compared to as the object compared, i.e., when Upamāna (moon &c.) is compared to Upameya (face &c.), or in other words, when the usual form of comparison is inverted, it is the Converse.
Ex. (Lady!) The lotus is like thy eyes; and the moon is like thy face.
2nd kind of Converse.
DEFINITION.अन्योपमेयलाभेन वर्ण्यस्यानादरश्च तत्।
EXAMPLE. अलं गर्वेण ते वक्त्र कांत्या चन्द्रो भवादृशः॥
[TABLE]
Def. When the subject on hand (face &c.) is disregarded by reason of the gain of another object (i.e., moon &c.) which is not the subject under discourse it is also termed Converse.
Ex. O face! enough of thy pride; (there is) the moon equal to thee in splendour.
3rd kind of Converse.
DEF.वर्ण्योपमेयलाभेन तथान्यस्याप्यनादरः।
Ex. कः क्रौर्यदर्पस्ते मृत्यो त्वत्तुल्याः सन्ति हि स्त्रियः॥
[TABLE]
Def. When the object which is not the subject on hand is disregarded by reason of gain of another object which is the subject on hand, it is declared the third kind of Converse.
Ex. O death! wherefore dost thou bear the pride on account of cruelty; because, there are (many) women equal to thee (in cruelty).
4th kind of Converse.
DEF. वर्ण्येनान्यस्योपमाया अनिष्पत्तिवचश्च तत्।
Ex. मिथ्यावादोहि मुग्धाक्षि! त्वन्मुखाभं किलांबुजम्॥
[TABLE]
Def. The assertion of non-accomplishment of the resemblance of the object not on hand with the object on hand is also termed the Converse.
Ex. O beautiful-eyed lady! The assertion that the lotus has the likeness of thy face is an untrue one.
Hence, we see here that the resemblance between the two objects lotus and face being stated as untrue becomes an unaccomplished one and so it is the Converse.
5th kind of Converse.
DER. प्रतीपमुपमानस्य कैमर्थ्यमपि मन्यते।
Ex. दृष्टं चेद्वदनं तन्व्याःकिं पद्मेन किमिन्दुना॥
[TABLE]
Def. The assertion ‘what is the use of the upamāna’(with reference to the upameya which is the subject on hand) is also considered as one of the Pratīpas.
Ex. When the face of that slender lady was seen, what is the use of the lotus or of the moon.
V. रूपकम्
— Metaphor.
DEF. विषय्यभेदताद्रूप्यरञ्जनं विषयस्य यत्।
Ex. रूपकं तत्त्रिधाधिक्यन्यूनत्वानुभयोक्तिभिः॥
[TABLE]
Def. The gratifying representation of the object compared (1) as non-different from, and (2) as identical with, the object compared to is termed Rūpaka. And each (of the said two kinds) is again three-fold in point of (1) superiority, (2) inferiority and (3) the absence of both.
The Metaphor is first held two-fold:—(1)अभेदरूपकम् and (2) ताद्रूप्यरूपकम्. Each of these is again three-fold in point of superiority &c., of the object compared over the object compared to.
Hence the Metaphor is six-fold which are:—
1. अधिकाभेदरूपकम्। 4. अधिकताद्रूप्यरूपकम्।
2. न्यूनाभेदरूपकम्। 5. न्यूनताद्रूप्यरूपकम्।
3. अनुभयाभेदरूपकम्। 6. अनुभयताद्रूप्यरूपकम्।
Examples of these in their reverse order.
No. 3.
अनुभयाभेदरूपकम्।
Ex. अयं हि धूर्जटिः साक्षाद् येन दग्धाः पुरः क्षणात्।
[TABLE]
Ex. This (king) is indeed the very God Siva in bodily form; because by him the cities (of his foes) were burnt.
Here, the king, the upameya, who is said to have burnt the cities of his foes is represented as non-different from the God Siva, the upamāna, the destroyer of the three cities of gold, silver and iron of the demon tripura, and in the absence of any superiority or of inferiority between these two objects, we have the example of Rūpaka No. 3.
No. 2. न्यूनाभेदरूपकम्।
Ex. अयमास्ते विना शंभुस्तार्त्तीयीकं विलोचनम्।
[TABLE]
Ex. Here stands (before us) this (king), the God Sambhu himself without his third eye.
Here, the king, the upameya, having only two eyes is represented as non-different from the God Sambhu, the upamāna, in the absence of his third eye, i.e., with an inferiority in respect of eyes. Hence, this is the example of Rūpaka No. 2.
No. 1.
अधिकाभेदरूपकम्।
Ex. शंभुर्विश्वमवत्येष स्वीकृत्य समदृष्टिताम्।
[TABLE]
Ex. This (king), the God Sambhu himself, protects the world assuming impartiality (lit. even eyes).
Here, the God Sambhu is said to have assumed two eyes in protecting the world while his third firey eye clever in consuming the world was now removed in as much as his present work is the protection of the world and not consuming. Hence, we have here the superiority, i.e., the protection of the world with reference to the destruction of the world with the विषमदृष्टिuneven eyes or three eyes, and so this is the example of Rūpaka No. 1.
No. 6.
अनुभयताद्रूप्यरूपकम्।
Ex. अस्या मुखेन्दुना लब्धे नेत्रानन्दे किमिन्दुना।
[TABLE]
Ex. When the delight of (our) eyes has been attained by (seeing) the face-moon of this (lady), what is the good of seeing the moon.
Here, the face of the lady in question is represented as identical with the moon and in the absence of any superiority or of inferiority between them, we have here Rūpaka No. 6.
No. 5.
न्यूनताद्रूप्यरूपकम्।
Ex. साध्वीयमपरा लक्ष्मीरसुधासागरोदिता॥
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Ex. This virtuous woman is a second Lakshmī(Goddess of fortune) not born of the Milky Sea.
Here, two different objects, the virtuous woman and the Goddess of fortune, are represented as identical with an inferiority in as much as the former is not born of the Milky Sea and we have therefore here the example of Rūpaka No. 5.
No. 4.
अधिकताद्रूप्यरूपकम्।
Ex. अयं कलंकिनञ्चन्द्रान्मुखचन्द्रोऽतिरिच्यते।
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Ex. Thisface-moon (of this lovely woman) is superior to the spotted moon.
Here, we have the superiority expressed in the example which needs no comment.
VI. **परिणामः—**Commutation.
DEF. परिणामः क्रियार्थश्चेद् विषयी विषयात्मना।
Ex. प्रसन्नेन दृगब्जेन वीक्षते मदिरेक्षणा॥
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Def. When the upamāna (i.e., the lotus &c., the object superimposed) is identified with the upameya
(i.e., the eye &c., the subject of superimposition) and serves the purpose on hand (i.e., seeing &c.) it is the Commutation.
Ex. This lady of lovely eyes beholds with her bright eye-lotus.
Here, the superimposed lotus not possessed of the power of beholding is identified with the lady’s eye, the subject of superimposition, and is made to serve the purpose on hand, i.e., the act of beholding. In the Rūpaka, as per instance in the sentenceदृगब्जंवीक्षेI see the eye-lotus,’the imposed lotus served only to gratify the expression. In this figure, the act of seeing belonging to the subject of superimposition, the eye, is transferred to the object superimposed, the lotus, as in the present example.
VII. उल्लेखः—
Representation.
DEF. बहुभिर्बहुधोल्लेखादेकस्योल्लेख इष्यते।
Ex. स्त्रीभिः कामोऽर्थिभिः स्वर्द्रुः कालः शत्रुभिरैक्षि सः॥
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Def. When an object is delineated by different people under different characters, it is termed Representation.
Ex. He (God Kṛishṇa) was regarded as the God of love by the women, as the tree of paradise by the mendicants, and as the God of death by (his) foes.
Here, the one and the same object is represented as distinct by different beholders on different occasions according to their liking or taste.
2nd kind of Representation.
DEF. एकेन बहुधोल्लेखेऽप्यसौ विषयभेदतः।
Ex. गुरुर्वचस्यर्जुनोऽयं कीर्त्तौभीष्मः शरासने॥
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Def. When an object is delineated by one person, i.e., by one perciever, under various characters through difference of peculiarities, it is also termed Representation.
Ex. He (the king) is grave (Bṛihaspati) in speech, white (Arjuna) in fame, and terrible ( Bhīshma ) in bow.
Here, one and the same king is represented as distinct by one and the same beholder but through difference of peculiarities belonging to the object delineated.
VIII. स्मृतिमान्— Reminiscence or Rhetorical Recollection.
IX. भ्रान्तिमान्— Mistaker.
X. सन्देहः—Doubt
DEF. स्यात् स्मृतिभ्रान्तिसन्देहैस्तदंकालंकृतित्रयम्।
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Def. (1) Expressions of a certain object capable of arousing an impression in the mind favouring a recollection, (2) mistaking a certain object to be something else similar to it, and (3) doubting the certainty of an object are respectively termed Reminiscence, the Mistaker and Doubt: Or in other words:—
(1) A recollection of an object, experienced before, that arises from the sight of some other object similar to it, is termed Reminiscence.
(2) The Mistaker is the representation of an object, i.e., face &c. as something else, i.e., lotus &c., as suggested by the skill of the poet, on account of the close resemblance of those two objects.
(3) When the certainty of an object under delineation is doubted through poetical skill, it is called Doubt.
Example of Reminiscence.
पंकजं पश्यतः कांतामुखं मे गाहते मनः
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Seeing this lotus, my mind recollects the face of my beloved.
Example of the Mistaker.
अयं प्रमत्तमधुपस्त्वन्मुखं वेत्ति पंकजम्।
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(Lady!) this intoxicated bee understands thy face to be the lotus (through mistake).
The difference between this figure and the Rūpaka (V) is, that, in the latter, we identify the face with the lotus without mistaking the one for the other, whereas, in this figure, the mistake is clearly expressed as in the foregoing example.
Example of Doubt.
पंकजं वा सुधांशुर्वेत्यस्माकं तु न निर्णयः।
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We are not able to decide whether (the object before us) is the lotus or the moon (nectar-rayed).
Thus, we see that these three figures are founded upon the close resemblance, of the objects seen and experienced before, that gave rise to a recollection, mistake or doubt.
XI. अपह्नुतिः— Concealment.
There are six varieties of this figure which are:—
1. शुद्धापह्नुतिःConcealment pure.
**2. हेत्वपह्नुतिः **Do. attended with a reason.
**3. पर्यस्तापह्नुतिः **Do. transferred.
**4. भ्रान्तापह्नुतिः **Do. under a mistake.
5. छेकापह्नुतिः Do. of the skilful.
6. कैतवापह्नुतिः Do. of the deceitful.
1. शुद्धापह्नुतिः—Concealment pure.
DEF. शुद्धापह्नुतिरन्यस्यारोपार्थो धर्मनिह्नवः।
Ex. नायं सुधांशुः किं तर्हि व्योमगंगासरोरुहम्॥
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Def. शुद्धापह्नुतिः is the denial of the real character (of an object on hand such as moon &c.) for the purpose of superimposing (upon it) the character of another (object lotus &c., not on hand).
Ex. This (the object before us) is not the moon (nectar-rayed) but it is the lotus of the celestial Ganges.
2. हेत्वपह्नुतिः
—Concealment with a reason.
DEF. स एव युक्तिपूर्वश्चेदुच्यते हेत्वपह्नुतिः।
Ex. नेन्दुस्तीव्रो न निश्यर्कः सिंधोरौर्वोयमुत्थितः॥
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Def. The above, i.e., the ‘Concealment pure’ when based upon a reasoning, is termed
हेत्वपह्नुतिः
।
Ex. This is not the moon, (because it is) hot; (not even) the sun, (because it is) night; but it is the submarine fire come out of the ocean.
3. पर्यस्तापह्नुतिः
—Concealment transferred.
DEF. अन्यत्र तस्यारोपार्थः पर्यस्तापह्नुतिश्च सः।
Ex. नायं सुधांशुः किं तर्हि सुधांशुः प्रेयसीसुखम्॥
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Def. Paryastāpahnuti is that in which the real character of an object (moon &c.) is denied and the same is superimposed upon another object (face of a damsel).
Ex. This is not the moon (nectar-rayed). Then which is moon? The face of my beloved is the moon (nectar-rayed— not being endowed with burning character).
4. भ्रान्तापह्नुतिः— Concealment under a mistake.
DEF. भ्रान्तापह्नुतिरन्यस्य शंकायां भ्रांतिवारणे।
Ex.तापं करोति सोत्कम्पं, ज्वरः किं? न सखि स्मरः॥
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Def. When a person is in doubt (i.e., under a mistaken notion as to the real character of an object on hand) and when that doubt is warded off (by the mention of the real thing), it is Bhrāntāpahnuti.
Ex. (It) produces heat accompanied by the trembling of the body* Is it fever? + No, friend! It is the God of love.†
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* Said by a lady pining under separation.
- Said by her female friend that chanced to be near her.
† Reply made by the former to the latter.
**5. छेकापह्नुतिः—**Concealment of the skilful.
DEF.छेकापह्नुतिरन्यस्य शंकातस्तथ्यनिह्नवे॥
Ex. प्रजल्पन्मत्पदे लग्नः, कांतः किं? न हि नूपुरः॥
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Def. When a person (having once given expression to some real object) denies the same (by interpreting it otherwise) for fear of being understood by another person (in its real sense), it is termed the Concealment of the skilful.
Ex. Pratling (something he) clung to my foot.* Is it thy lover?+ No, no. It is my anklet. †
**6. कैतवापह्नुतिः—**Concealment of the deceitful.
DEF. कैतवापह्नुतिर्व्यक्तौ व्याजाद्यैर्निह्नुतैःपदैः।
Ex. निर्यान्ति स्मरनाराचाः कांतादृक्पातकैतवात्॥
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* Said by a lady to her confidential companion.
- Question asked by another lady that chanced to come there at that time.
†Reply made by the first lady.
Def. When (the denial of the real character of an object on hand) is clearly expressed by the words of denialव्याज etc., it is the Concealment of the deceitful.
Ex. The arrows of the God of love issue forth under the semblence of the glances of a damsel.
** व्याज**= under the semblence of, under the pretext of.
आद्य etc. includes such other words मिष, कपट, छल, छद्म, कैतव।
**XII. उत्प्रेक्षा—**Poetical fancy.
DEF.संभावना स्यादुत्प्रेक्षा वस्तुहेतुफलात्मना।
** उक्तानुक्तास्पदाद्यात्रसिद्धासिद्धास्पदे परे॥**
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Def. The Poetical fancy is the imagining of an object on hand under the character of another object not on hand under three heads, viz., (1) nature, (2) cause and (3) effect. (And thus the figure is first three-fold). Of these, the firstवस्तूत्प्रेक्षा qual or as it is generally calledस्वरूपोत्प्रेक्षाis two-fold according as the occasion of the fancy is mentioned or not mentioned. The other two, i.e., हेतूत्प्रेक्षाand फलोत्प्रेक्षाare each
two-fold according as the subject of the fancy is an accomplished or unaccomplished one.
** स्वरूपोत्प्रेक्षा**is that in which the state, condition or natural appearance of an object is imagined by the poets to be the state, condition or natural appearance of another similar object.हेतुत्प्रेक्षा is that in which something is imagined to be the effect of some other thing which cannot form its real cause. फलोत्प्रेक्षा is that in which something is imagined to be the cause of some other thing which is not its real effect.
Example ofस्वरूपोत्प्रेक्षा(1) where the occasion ofthe fancy is mentioned.
धूमस्तोमं तमः शंके कोकीविरहशुष्मणाम्।
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I suspect (this) darkness to be the mass of smoke of the fire of separation of the kokībirds.
Here, the darkness and the smoke are similar in appearance. The poet is aware that it is darkness. He then fancies it to be the smoke of the fire of separation of the kokībirds which is the occasion of the fancy.
Example of स्वरूपोत्प्रेक्षा(2) where the occasion of the fancy is not mentioned.
लिम्पतीव तमोङ्गानि वर्षतीवांजनं नभः।
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Ex. The darkness anoints, as it were, the bodies, (lit. limbs). Sky rains, as it were, the collyrium.
This is the description of the thick darkness of a particular night. In the first sentence, the subject, i.e., the pervasion of darkness which was fancied by the poet as anointing the bodies is not mentioned. In the second sentence too, the pouring down of the darkness which is the subject of the raining of collyrium is not mentioned. Hence we have two instances of अनुक्तास्पदा वस्तूत्पेक्षा where the occasion of the fancy is not mentioned.
Ex. रक्तौ तवांघ्रीमृदुलौ भुवि विक्षेपणाद्ध्रुवम्।
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(Oh! Lady), thy soft feet have become red certainly by their treading on the floor.
Here, the treading on the floor is fancied as a cause for the natural redness of the lady’s feet; and the redness being an accomplished one, this is an instance of सिद्धास्पदा हेतूत्प्रेक्षा।
Ex.त्वन्मुखाभेच्छयानूनं पद्मैर्वैरायते शशी।
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Oh! Damsel, the moonrivals with the lotuses, surely, with a desire of attaining the loveliness of thy face.
Here, the enmity, between the moon and the lotuses, on account of the latter’s contraction on the appearance of the former, is natural, and the cause ascribed to it, i.e., with a desire of attaining the beauty of the lady’s face is not real and is due to the fancy of the poet. The cause not being an established one, this forms an instance of असिद्धास्पदा हेतूत्प्रेक्षा।
Ex.मध्यः किं कुचयोर्धृत्यै बद्धः कनकदामभिः।
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Lady! Is it for the support of thy breasts that thy waist was tied by the golden strings (in the form of the lady’s foldings)?
Here, the lady’s breasts are naturally placed above the waist; whereas, the poet describes the natural goldlike folds over the navel of the lady as three golden strings tied round the waist as if to support the breasts. The fact being an accomplished one, this is an instance of सिद्धविषया फलोत्प्रेक्षा।
Ex. प्रायोऽब्जंत्वत्पदेनैक्यं प्राप्तुं तोये तपस्यति।
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Lady! the lotus does penance in the water perhaps to become identical with thy foot.
Here, the lotuses naturally grow in water, and the poet artfully attributes another cause for their
standing in the water, which is no doubt the work of his imagination; and this being an unaccomplished one, it is an instance of असिद्धविषया फलोत्पेक्षा।
XIII. अतिशयोक्तिः— Hyperbole.
There are seven kinds of this figure:—
1. रूपकातिशयोक्तिःHyperbole Metaphorical.
2. भेदकाति० Do. asserting a difference.
**3. संबन्धा० **Do. asserting a connection.
**4. असंबन्धा० **Do. asserting a disconnection.
**5. अक्रमा० **Do. asserting a want of order.
6. चपला० Do. asserting fickleness.
**7. अत्यन्ता० **Do. of the highest degree.
Of these, No. 1 is two-fold.(a) शुद्धा—Pure and (b) सापह्नवा—founded upon the ornament of Concealment (XI).
1 (a) शुद्धा रूपकातिशयोक्तिः।
DEF. रूपकातिशयोक्तिः स्यान्निगीर्याध्यवसानतः।
Ex. पश्य नीलोत्पलद्वंद्वान्निःसरंति शिताः शराः॥
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Def. When the object on hand (i.e., face &c. the upameya) is swallowed up, or completely taken in, by the upamāna ‘moon &c.’ through introsusception, and the upameya is therefore comprehended as upamāna itself, or, in other words, (when the upamāna is used for upameya), it is called ‘Hyperbole Metaphorical’.
** निगीर्य**is indeclinable past participle in यof the root गृृwith नि ’to devour’. अध्यवसानतः = अध्यवसान+तस्अध्यवसान is the abstract noun formed by adding the affix अन to the root सो with prepositions अधि and अव, and तस् is a termination of the ablative case.
** अध्यवसान** means the identification of two objects of which the one is the object on hand and the other not on hand in such a manner that the former is com- pletely absorbed into the latter.
When a man comprehends the face of a damsel as moon itself and calls it by the word ‘moon’ without mentioning the proper word ‘face’, then the face ‘upameya’ is said to have been swallowed up by the moon ‘upamāna’.
Ex. Behold! There issue forth sharpened shafts from a pair of blue lotuses.
Here, the speaker, instead of sayingपश्यकान्ताक्षियुग्मात् कटाक्षा निःसरन्त्यहो there issue forth ogles or side— glances from a pair of eyes of this lovely woman who was before him, says thus by using the upamāna words नीलोत्पल‘blue lotus’ and शराः‘shafts’ for their corresponding upameya words the अक्षि‘eye’ andकटाक्षः‘ogles’. Thus, we have the introsusception of the eyes and the ogles of a beloved lady in
the blue lotuses and shafts with which they are respectively identified.*
1 (b)
सापह्नवा रूपकातिशयोक्तिः।
DEF. यद्यपह्नुतिगर्भत्वं सैव सापह्नुवा मता।
Ex. त्वत्सूक्तिषु सुधा राजन् भ्रांताः पश्यंति तां विधौ॥
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Def. If the same, i.e., the Metaphorical Hyperbole No. 1 (a) is founded upon the ornament of Concealment, then it is called सापह्नवा रूपकातिशयोक्तिः।
Ex. O king! Nectar exists in thy good speeches; but the infatuated people see the same in the moon.
Here, ’the sweetness in the good speeches of the king is the nectar’— is the Hyperbole No. 1 (a); because the upamāna ’nectar’ is used for upameya ‘sweetness’. Again, the nectar which is in the moon is denied and that which exists in the good speeches of the king is called nectar and hence we have the ornament of Concealment also.
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* This comprehension brings about the superior excellence of the upameya over the upamāna.
2. भेदकातिशयोक्तिः।
DEF.भेदकातिशयोक्तिस्तु तस्यैवान्यत्ववर्णनम्।
Ex. अन्यदेवास्य गांभीर्यमन्यद्धैर्यं महीपतेः॥
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Def. When the thing described is comprehended as another, i.e., as extraordinary or strange or peculiar, it is called भेदकातिशयोक्तिः।
Ex. Strange is the profundity of this king and strange is his courage also.
Here, the profundity and the courage of the king are considered as extraordinary because a difference is asserted between the profundity and courage of an ordinary man and those of the king.
3. संबन्धातिशयोक्तिः।
DEF. संबंधातिशयोक्तिः स्यादयोगे योगकल्पनम्।
Ex. सौधाग्राणि पुरस्यास्य स्पृशंति विधुमंडलम्॥
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Def. When a connection is asserted where there is really none, it is called संबन्धातिशयोक्तिः।
Ex. The tops of the mansions of this town kiss the disc of the moon.
Here, the tops do not really touch the disc of the moon; still they are asserted to do so on account of their extraordinary height.
4. असंबन्धातिशयोक्तिः।
DEF.योगेऽप्ययोगोऽसंबंधातिशयोक्तिरितीर्यते।
Ex. त्वयि दातरि राजेन्द्र स्वर्द्रुमान्नाद्रियामहे॥
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Def. Denial of connection where there is really a connection is called असंबन्धातिशयोक्तिः।
** **Ex. O best of kings! As long as thou remainest here, as our liberal donor, we won’t devote ourselves to the wish-yielding trees of Indra’s paradise.
This is addressed by the mendicants to a king of very liberal donations. They, the mendicants, say that as long as this king is their donor, they sever their connection with the Kalpa tree. Here, the connection of the mendicants with their wish-yielding tree which is, as its very name implies, renowned for its liberality is denied.
5. अक्रमातिशयोक्तिः।
DEF. अक्रमातिशयोक्तिः स्यात्सहत्वे हेतुकार्ययोः।
Ex. आलिंगन्ति समं देव ज्यां शराश्च पराश्च ते॥
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Def. When the cause and effect are said to have taken place simultaneously, or, in other words, when the effect is said to co-exist with the cause, it is called अक्रमातिशयोक्तिः।
Ex. O king! Thy arrows and thy foes both clasp the jyāsimultaneously.
Observe the pun on the word jyā which means ‘bow-string’ and ‘earth.’ The arrows are said to clasp the bow-string, and the foes, the earth, i.e., they fall down on earth dead being struck with the arrows of the king. It is usual that cause precedes the effect. Here, the effect, the falling down dead on earth, is said to co-exist with the cause, the issuing of anarrow. Hence, it is called अक्रमातिशयोक्तिः।
6. चपलातिशयोक्तिः।
DEF. चपलातिशयोक्तिस्तु कार्य्येहेतुप्रसक्तिजे।
Ex. यास्यामीत्युदिते तन्व्याबलयोऽभवदूर्मिका॥
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Def. If the effect is described to have taken place without the cause, or, literally, if the effect is said to have taken place when the cause was under discussion, i.e., not yet begun, it is then calledचपलातिशयोक्तिः।
Ex. No sooner did the lover say ‘I shall go’ than the ring of his slender lady became her bracelet.
When the lover simply said ‘I shall go’ but did not actually go, his beloved became so very thin at the very thought of her lover’s future separation that the ring of her finger served as bracelet for her hand. Here, the cause was only expressed but did not actually take place and we see the effect is pro-duced without the cause.
7. अत्यन्तातिशयोक्तिः।
DEF. अत्यन्तातिशयोक्तिस्तत्पौर्वापर्यव्यतिक्रमे।
Ex.अग्रे मानो गतः पश्चादनुनीता प्रियेण सा॥
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* Is explained by the commentator as हेत्वभावे— without cause.
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Def. When the relation of priority and posteriority is violated, i.e., when the due order is inverted, or, in other words, when the effect is said to have preceded the cause, it is अत्यन्तातिशयोक्तिः।
Ex. The anger (of the beloved lady) had previously subsided. Afterwards, she was conciliated by her lover.
Here, a lady angry, through love, at the absence of her lover removed her anger at the moment the lover came before her. The lover not knowing the subsidence of the anger of the lady excused himself of his absence which was unnecessary at that stage.
XIV. तुल्ययोगिता—‘Equal Pairing’.
DEF. वर्ण्यानामितरेषां वा धर्मैक्यं तुल्ययोगिता।
Ex. संकुचंति सरोजानि स्वैरिणौवदनानि च॥
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* तत्= तयोःof those, i.e., of the cause and effect.
Def. The sameness of attribute of objects on hand or of objects not on hand, is called तुल्ययोगिता।
Example of objects on hand.
The lotuses become contracted as well as the faces of the adulterous women.
This being the description of the rise of the moon, the lotuses are said to contract; and the moonlight being an impediment to the free movements of the harlots, their faces also are said to contract or droop.
Observe:— Here, the lotuses and the faces of the women are the objects on hand and are associated with one common attribute.
Example of objects that are not on hand.
त्वदंगमार्दवे दृष्टे कस्य चित्ते न भासते।
मालतीशशभृल्लेखा कदलीनां कठोरता॥
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Ex. Lady! In whose mind will not the hardness of the jasamine, the lunar ray and the plantain be manifest when the softness of thy limbs was perceived?
Here, the jasamine &c., the objects unconnected with the subject, are associated with one and the same attribute, that is, the quality of hardness.
Equal Pairing, second kind.
DEF. हिताहिते वृत्तितौल्यमपरा तुल्ययोगिता।
Ex. प्रदीयते पराभूतिर्मित्रशात्रवयोस्त्वया॥
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Def. The description of the sameness of behaviour towards a friend and a foe is another kind of Equal Pairing.
Ex. (O king!), Parābūti is equally distributed by thee both to thy friend and to thy foe.
** परा** and भूतिःare two separate words meaning immense riches when applied to ‘friend’; when taken as one word, पराभूतिःmeans ‘defeat’ and applies to ‘foe’ however the same word being used to friend and foe, this must be taken as instancing the figure without referring to its meaning.
Observe:—This is possible only under a pun.
Equal Pairing, third kind.
DEF. गुणोत्कृष्टैःसमीकृत्य वचोऽन्या तुल्ययोगिता।
Ex. लोकपालोयमः पाशी श्रीदः शक्रो भवानपि॥
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Def. The description of placing one object on a footing of equality with those possessed of superior qualities is termed a third kind of Equal Pairing.
Ex. (O Lord!), Yama, Pāsī, Srīda, Sakra as well as thyself are each a Lokapāla.
Lokapāla= a regent or guardian of a quarter= a ruler of earth.
Yama= the God of death, the regent of the Southern quarter.
Pāsī= Varuna, the regent of the Western quarter and of the oceans.
Srīda= Kubera, the regent of the Northern quarter and the God of riches and treasure.
Sakra= Indra, the regent of the Eastern quarter and the king of the Gods.
XV. दीपकम्—The ‘Illuminator’.
DEF. वदंति वर्ण्यावर्ण्यानां धर्मैक्यं दीपकं बुधाः।
Ex. मदेन भाति कलभः प्रतापेन महीपतिः॥
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Def. When objects on hand and those not on hand are associated with a common attribute (mentioned only once), the learned call it the Illuminator.
Ex. The young elephant shines by its ichor and this lord of earth by his valour.
Here, the elephant, the object not on hand, and the king, the object on hand, are together associated with one and the same attribute, the action of shining. Just as a lamp standing in one place illumines the several objects round it, so in the present figure one finite verb serves as predicate to two or more nominatives. Compare the maxim of the lamp placed over a threshold देहलीदीपन्यायः। It takes its origin from a lamp hanging over the threshold of a house which, by its peculiar position, serves to light the rooms on both sides, and is used to denote something which serves a two-fold purpose at the same time. Apte.
- *In the Equal Pairing No. 1 (Fig. XIV), the objects on hand if associated with one and the same attribute formed one kind of the figure; and the objects not on hand if associated with one and the same attribute formed another kind of the same figure (observe the word वाin the Definition). In the Illuminator, the objects on hand and those not on hand are together
associated with one common attribute mentioned only once.
XVI. आवृत्तिदीपकम्
—The Illuminator by repetition.
DEF. त्रिविधं दीपकावृत्तौ भवेदावृत्तिदीपकम्।
Ex. वर्षत्यंबुदमालेयं वर्षत्येषा च शर्वरी॥
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** त्रिविधम्** i.e, by repetition of 1 पद ‘word’, 2 अर्थ ‘signification’ and 3 उभय ‘both word and signification’.
Def. By repetition of (1) word, (2) signification and (3) both, we have the three kinds of the figure आवृत्तिदीपकम्।
Ex. This range of clouds rains and this night looks like a year.
This is the example of No. 1 पदावृत्ति। Here, the verb वर्षति, a पद, is repeated though with different significations. The first is the form of the third person, singular number, present tense of the root वृष्‘to rain’, and the second is the form of the third person, singular number, present tense of the nominal verb derived from the noun वर्ष ’ a year’.
Example of No. 2. अर्थावृत्ति।
उन्मीलंति कदंबानि स्फुटंति कुटजद्रुमाः।
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Ex. The kadamba flowers blossom and the kutaja creepers bloom forth.
उन्मीलन्ति and स्फुटन्ति
mean the same thing and we have here a repetition of signification.
Example of No. 3. उभयावृत्ति।
माद्यन्ति चातकास्तृप्ता माद्यंति च शिखावलाः।
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Ex. The satiated chātaka birds rejoice and the peacocks also rejoice (at the sight of the clouds).
Here, the same word माद्यन्ति is repeated in the same meaning and hence it is called उभयावृत्तिदीपकम्।
XVII. प्रतिवस्तूपमा—Typical Comparison.
DEF.वाक्ययोरेकसामान्ये प्रतिवस्तूपमा मता।
Ex. तापेन भ्राजते सूरः शूरश्चापेन राजते॥
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Def. When, in two sentences one of which describes the object compared and the other the object compared to, the same common attribute is expressed but by different words, it is termed Typical Comparison.
Ex. The sun shines with intense heat and this warrior looks brilliant with his bow.
Here, the actions of shining and looking brilliant, though mean the same thing, are expressed by different words to avoid the fault of repetition.
XVIII दृष्टान्तः— Exemplification.
DEF.चेद्बिम्बप्रतिबिंबत्वं दृष्टांतस्तदलंकृतिः।
Ex. त्वमेव कीर्त्तिमान् राजन् विधुरेव हि कांतिमान्॥
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Def. If two sentences, one of which contains the object compared and the other the object compared to, stand in relation of type and proto-type, or, in other words, contain similar attributes reflectively expressed, it is called Exemplification.
Ex. O king! Thou art the only being possessed of fame and the moon is the only object having radiance.
Here, possessing fame and having radiance are similar attributes and the two sentences stand in relation of type and proto-type. The first sentence is exemplified by the second in which a renowned object, the moon, whose radiance has been experienced
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* Taken from the preceding verse.
as excellent, is employed as a type. The difference between this figure and प्रतिवस्तूपमाis that the common attributes here are similar but in the latter they are identical. In theप्रतिवस्तूपमा the couple of sentences terminates in conveying the same sense; whilst in the example of the present figure the sentences have similar sense reflectively expressed and not the same.
XIX. निदर्शना। Illustration (First kind.)
DEF. वाक्यार्थयोः सदृशयोरैक्यारोपो निदर्शना।
Ex. या दातुः सौम्यता सेयं पूर्णेन्दोरकलंकता॥
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Def. A description, resulting in the identity of the significations, of two sentences, which are similar, i.e., which terminate in a comparison or similarity, is called Illustration.
Ex. That mild nature if possessed by a donor answers to the stainlessness of the full moon.*
Here, the impossibility of the existence of the full moon without the black spot corresponds to the
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*In Sanskṛit, the relative and corrolative clauses are reckoned as two separate sentences.
non-existence of a donor destitude of anger. Thus, we see that the two sentences terminate in a comparison.
The difference between this figure and the दृष्टान्त XVII is that inदृष्टान्त similar attributes are stated whereas here they are not stated. Here, the two sentences employed are dependent upon each other in their meanings but in theदृष्टान्त they are independent.
2nd kind of Illustration.
DEF.पदार्थवृत्तिमप्येके वदंत्यन्यां निदर्शनाम्।
Ex. त्वन्नेत्रयुगलं धत्ते लीलां नीलांबुजन्मनोः॥
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Def. If a thing is described as bearing the property of another, then it is another kind of Illustration according to certain writers on Rhetoric.
Ex. (Lady!) Thy two eyes bear the charmingness of the two blue lotuses.
3rd kind of Illustration.
DEF. अपरां बोधनं प्राहुः क्रिययासत्सदर्थयोः।
Ex. नश्येद्राजविरोधीति क्षीणं चन्द्रोदये तमः॥
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Def. The intimation, by an agent engaged in a certain action, of the unreal and the real state of things signified by the action itself, it is termed the third kind of Illustration.
Ex. “The enemy of a king (moon) will perish”—telling this, the darkness, on the rise of the moon, vanished.
Here, the darkness is the agent in the act of intimating to the world the above fact, the result of its own experience which is certainly unreal. This forms the example of unreal state of things.
Example of the real state of things:—
उदयन्नेव सविता पद्मेष्वर्पयति श्रियम्।
विभावयन्समृद्धीनां फलं सुहृदनुग्रहम्॥
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Ex. ‘The chief object of one’s having riches consists in rewarding his friends’— thus intimating(to the
world), the sun, just on its rise, consigns its own treasures (splendour) to the lotuses.
Here, the sun is the agent in the act of intimating to the world the above fact which is real as the lotuses bloom only on the rise of the sun.
XX. व्यतिरेकः— Dissimilitude or Contrast.
DEF. व्यतिरेको विशेषश्चेदुपमानोपमेययोः।
Ex. शैला इवोन्नताः संतः किंतु प्रकृतिकोमलाः॥
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Def. If any characterestic difference is asserted between the object compared to and that compared, then it is called Dissimilitude or Contrast.
Ex. Good men are as high as mountains; but they (good men) are delicate by nature.
Here, we see a similitude between the good men, upameya, and the mountains, upamāna, in one respect and a dissimilitude in another respect.
XXI. सहोक्तिः।Connected Description or a Speech withसह‘with’.
DEE. सहोक्तिः सहभावश्चेद्भासते जनरंजनः।
Ex. दिगंतमगमत्तस्य कीर्त्तिः प्रत्यर्थिभिः सह॥
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Def. A description of simultaneity or conjunction which will excite a pleasing (poetical) delight in the people’s (mind) is called the Connected Description.
Ex. The fame of that king has reached the end of the quarters together with his foes.
Here, the reaching of the fame to the end of the quarters is directly expressed and that of the foes is indirectly expressed by the word सह। सह denotes simultaneity of two actions that are of one and the same kind. The idea conveyed in the present example is that both the king’s fame and the enemies reached the end of the quarters at the same time. Thus we see that this figure consists in the description of simultaneous action connected withसह।
**XXII. विनोक्तिः—**Speech of Absence or Speech with विना‘without’.
DEF. विनोक्तिश्चेद्विना किंचित्प्रस्तुतं हीनमुच्यते।
Ex. विद्या हृद्यापि साऽवद्या विना विनयसंपदम्॥
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Def. When an object on hand is represented as inferior in the absence of some other object, it is termed the Speech of Absence.
Ex. In the absence of excellent good behaviour, the learning, though pleasing, is censurable.
Speech of Absence, second kind.
DEP. तच्चेत्किंचिद्विना रम्यं विनोक्तिः सापि कथ्यते।
Ex. विना खलैर्विभात्येषा राजेंद्र भवतः सभा॥
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Def. When an object on hand is represented as charming in the absence of some other object, it is also called Speech of Absence.
Ex. O best of kings! Thy council hall shines splendid in the absence of wicked persons.
**XXIII. समासोक्तिः—**Modal Metaphor or Speech of Brevity.
DEF.समासोक्तिः परिस्फूर्त्तिः प्रस्तुतेऽप्रस्तुतस्य चेत्।
Ex. अयमैंद्रीमुखं पश्य रक्तश्चुंबति चंद्रमाः॥
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Def. If, by the description of an object on hand, an object not on hand is apprehended, or in other words, when the description of an object on hand conveys a reference to an object not on hand, it is called Modal Metaphor.
Ex. My beloved! see, this moon becoming red kisses the face of the Eastern (Indra’s) quarter.
Here, by the use of the words—(1) चुम्बति the action of which belongs to a human being, (2) चन्द्रमाःin the masculine gender and (3) ऐन्द्री in the feminine gender, we understand that a lover, the subject of discourse, out of passion, kisses the face of some beautiful damsel residing in the east.
XXIV. परिकरः—Insinuator.
DEF. अलंकारः परिकरः साभिप्राये विशेषणे।
Ex. सुधांशुकलितोत्तंसस्तापं हरतु वः शिवः॥
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Def. A speech with epithets signifying the import (of the speaker) is termed Insinuator.
Ex. Let God Siva whose crest has been adorned with nectar-rayed (moon) remove your misery (lit. mental heat).
Here, the charming epithet सुधांशुकलितोत्तंसः suggests that the heat is removable. This figure occurs even when only one epithet is employed and when that epithet invests the verse with a peculiar charm agreeable to the effect like the present one.
XXV. परिकरांकुरः— Sprout of an Insinuator.
DEF.साभिप्राये विशेष्ये तु भवेत्परिकरांकुरः।
Ex. चतुर्णांपुरुषार्थानां दाता देवश्चतुर्भुजः॥
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Def. When the noun itself (i.e., without epithets) signifies the import of the speaker, it is called the Sprout of an Insinuator.
Ex. The four-armed God (Vishṇu) is the giver of the four principal objects of life.
Four objects of life are धर्मः‘merit’, अर्थः‘wealth’, कामः‘enjoyment’ and मोक्षः’liberation’.
Here, the word चतुर्भुजःis one of the thousand names of the Lord Vishṇu and is used here without epithets. The import of the speaker is that God Vishṇu alone (being four-armed) is able to distribute the four objects of life.
XXVI. **श्लेषः—**Paronomasia.
DEF. नानार्थसंश्रयः श्लेषो वर्ण्यावर्ण्योभयास्पदः।
Ex.सर्वदो माधवः पायात् स यो गंगामदीधरत्॥
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Def. Paronomasia is the expression by words having more than one signification referring (1) to an object on hand, (2) to an object not on hand and (3) to both.
Ex. The all-giver Mādhava who held up the mountain (Govardhana on his head) and the earth may protect (you).
The husband of Umā (Siva) who bore (on his head) the river Ganges may protect (you).
** सर्वदो माधवः**may be split into (1) सर्वदःमाधवःand (2) सर्वदा उमाधवः ।
** यो गंगाम्** may be split into (1) यःअगं गाम् and (2) यः गंगाम्।
Here, both Mādhava and Umādhava are objects on hand and this is therefore the Example of No. 1.
Example of No. 2.
अब्जेन त्वन्मुखं तुल्यं हरिणाहितसक्तिना।
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or
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(Lady!) thy face resembles the moon having an attachment effected by the deer (in the form of the spot).
or
(Lady!) thy face resembles the lotus having an attachment effected by the sun (in the act of blooming at the dawn).
Here,अब्जmoon’ andअब्ज’lotus’ which are upamānas are both objects not on hand.
Example of No. 3.
उच्चरद्भूरिकीलालः शुशुभे वाहिनीपतिः।
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The commander of the army, Bhīshma, shone by the profuse effusion of blood
or
The Lord of the rivers, the ocean, shone by the vast expanse of water.
Here, the commander Bhīshma is the object on hand and the ocean is the object not on hand.
**XXVII. अप्रस्तुतप्रशंसा—**Indirect Description.
DEF. अप्रस्तुतप्रशंसा स्यात् सा यत्र प्रस्तुताश्रया।
Ex. एकःकृती शकुंतेषु योऽन्यं शक्रान्न याचते॥
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Def. When the description of an object not on hand conveys a reference to an object on hand, it is called Indirect Description.
Ex. (The chātaka bird) is the only fortunate one, among the birds, which never begs of any other than Indra.
It is a known fact that chātaka bird lives on rain drops and that Indra is the bestower of rain.
Here, the object in question is a noble man who never begs of any man except the Indra-like king and this is conveyed through the description of a chātaka bird which is not the object on hand.
This is not समासोक्ति where a description of an object on hand conveys a reference to an object not on hand; whilst, in this figure, it is quite contrary.
XXVIII. प्रस्तुतांकुरः— The Sprout of Direct Description.
DEF. प्रस्तुतेन प्रस्तुतस्य द्योतने प्रस्तुतांकुरः।
Ex. किं भृंग सत्यां मालत्यां केतक्या कण्टकेद्धया॥
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Def. When the description of an object on hand conveys a reference to another object on hand, it is called Prastutānkura.
Ex. O Bee! What (is the use of thy amusement) with the (unblown) Ketakīfull of thorns while thou hast here the Mālatī(Jasamine) flower.
Here, a lady, by the description of the bee’s act with the unblown Ketakībud witnessed by her in her pleasure garden indirectly intimates the same to her lover, the subject of discourse, who is at present in love with a maiden who has not yet arrived at puberty.
- N. B.—* The bee and the lover are both objects on hand.
XXIX. पर्य्यायोक्तम्— Periphrasis.
DEF. पर्य्यायोक्तं तु गम्यस्य वचो भंग्यंतराश्रयम्।
Ex. नमस्तस्मैकृतौ येन मुधा राहुवधूकुचौ॥
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Def. When a fact intended to be intimated is conveyed by a circumlocutory speech, or in other words, when a fact intended to be described is expressed by a turn of speech, or, if the intended fact is expressed in a different manner, it is Periphrasis.
Ex. Homage to him (God Vishṇu) by whom the breasts of Rāhu’s spouse were rendered useless.
Here, the intended fact is that homage is to the God Vishṇu only, because he was the killer of Rāhu and thus rendered the breasts of Rāhu’s spouse useless and this fact has been expressed by a turn of
speech, i.e., by different words which do not express it but by words which suggest it, simply for the purpose of giving a particular strikingness to the description.
Periphrasis— A second kind.
DEF. पर्य्यायोक्तं तदप्याहुर्यद्व्याजेनेष्टसाधनम्।
Ex. यामि चूतलतां द्रष्टुं युवाभ्यामास्यतामिह॥
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Def. Even the fulfilment of one’s own wish under an artful pretext of doing some thing else is also called Periphrasis by some.
Ex. Lovers! I depart hence for the purpose of seeing (my) mango creeper and it shall be stayed here by you both.
Here, the speaker is a female messenger who having united her mistress with her intended lover departs from that place under the pretext of seeing her own chūta creeper so that the couple may freely enjoy in the absence of a third person.
XXX. व्याजस्तुतिः— Artful Praise or Irony.
DEF. उक्तिर्व्याजस्तुतिर्निंदास्तुतिभ्यां स्तुतिनिंन्दयोः।
Ex. कः स्वर्धुनि! विवेकस्ते नयसे पापिनो दिवम्॥
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Def. when (1) the praise is understood by apparent censure and (2) censure by apparent praise, it is termed Artful Praise.
Ex. O celestial river Gangā! Thou art devoid of judgment in that thou conveyest the sinners to the heaven.
This is the example of No. 1.
Here, the real praise has resulted by the apparent censure and it consists in representing the Gangā as taking the sinners to heaven provided they once bathe in her waters.
- N. B.—* व्याजस्तुतिः= व्याजेन स्तुतिः Praise by an artifice—when praise is understood by apparent censure.
When censure is understood by apparent praise, व्याजस्तुतिः is explained as व्याजरूपा स्तुतिः praise consisting in an artifice or a pretended praise.
Example of No. 2.
साधु दूति पुनः साधु कर्तव्यं किमतःपरम्।
यन्मदर्थे विलूनासि दंतैरपि नखैरपि॥
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Well (done) messenger! what other good than this can again be done; because thou, on my account, wast injured even by (my lover’s) teeth and nails.
Here, the speaker a lady pining under separation sent her maid-servant as a messenger to her lover and on seeing her returning with marks, in her body, of her having toyed with her (lady’s) lord, censures her under pretext of Praise saying that she (lady) was saved by her (the maid servant) from the injury by her lord’s teeth and nails; whereas in fact she was angry when she saw her servant coming single without her lord and was more angry when she observed on her body the marks of sexual intercourse with her own lord. Hence a censure resulted in theapparent praise.
- N.B.—*This is not अप्रस्तुतप्रशंसा(XXVII), for, in it, there is no strikingness consisting either in censure or praise.
XXXI.व्याजनिन्दा—Artful Censure.
DEF. निंदाया निंदया व्यक्तिर्व्याजनिंदेति गीयते।
Ex. विधे स निंद्यो यस्ते प्रागेकमेवाहरच्छिरः॥
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Def. When an apparent censure (of an object not on hand) results in the censure (of an object not on hand), it is Artful Censure.
Ex. O Creator! he (Siva) is to be censured— he that has lopped off only one head of thine formerly.
Here, the speaker, a poor man in very distressed circumstances, fancies himself that, if all the five heads of the God Brahmā were lopped off by Siva, then both the creator and the sufferings of the created would have been simultaneously put an end to. Instead of directly censuring the God Brahmā, the creator, the object on hand, the speaker censured the God Siva, the object not on hand, in having imprudently suffered the other four heads of Brahmā to remain.
XXXII. आक्षेपः— Hint.
DEF. आक्षेपःस्वयमुक्तस्य प्रतिषेधोविचारणात्।
Ex. चंद्र! संदर्शयात्मानमथवास्ति प्रियामुखम्॥
[TABLE]
Def. A denial, after some deliberation, of what has been expressed, is called Hint.
Ex. O moon! Discover thy self (to me). Why? Here is the face of (my) beloved.
Here, we see only a semblance of denial. This figure is distinct from the Concealment (XI) where the property of an object on hand is denied and that of another not on hand is superimposed upon it.
A second kind of Hint.
DEE. निषेधाभासमाक्षेपं बुधाःकेचन मन्वते।
Ex. नाहं दूतीतनोस्तापस्तस्याः कालानलोपमः॥
[TABLE]
Def. Some learned peopleregard the semblance but of a denial as the figure Hint.
Ex. I am no go-between love-fever (residing in) her (mistress’) body, resembling the destructive fire at the end of the world.
Here, the character of a person— that of the go-between, is denied. The fact of excessive hardship, experienced by the lady under the pangs of separation, which was intended to be conveyed by the go-between, the speaker, is suppressed in order to suggest more strikingly that the lady is sure to die if her lover delays even for a moment in meeting her.
A third kind of Hint.
DEE. आक्षेपोऽन्यो विधौ व्यक्ते निषेधे च तिरोहिते।
Ex. गच्छ गच्छसि चेत्कांत!तत्रैव स्याज्जनिर्मम॥
[TABLE]
Def. When the permission (to do some thing) is apparent (in words) but the denial (to do that thing) is hidden, it is a third kind of Hint.
Ex. Departest (thou), my love, if thou art determined to go, and may my rebirth take place in that same place (where thou hast gone).
Here, the apparent permission of going granted by the lady suggests a clear prohibition, the meaning conveyed thereby being that the lover ought to desist from departing from her presence.
XXXIII. विरोधाभासः or विरोधः— Contradiction.
DEF. आभासत्वे विरोधस्य विरोधाभास इष्यते।
Ex. विनापि तन्वि!हारेण वक्षोजौ तव हारिणौ॥
[TABLE]
Def. When an incongruity (between two things) is apparent (in words*), then it is called Contradiction.
Ex. O slender lady! thy breasts though devoid of pearl necklace are yet possessed of pearl necklaces, i.e., are yet charming.
Here, the apparent contradiction is to be explained by taking the word हारिणौin the sense of ‘charming’ only.
XXXIV. विभावना— Peculiar Causation.
DEF.विभावना विनापि स्यात्कारणं कार्यजन्म चेत्।
Ex. अपि लाक्षारसासिक्तंरक्तं त्वच्चरणद्वयम्॥
[TABLE]
Def. When the production of an effect is represented as being without cause, it is Peculiar Causation.
Ex. Lady! thy two feet are red though they were not dyed with red lac.
Here, the contradiction in the red feet without its cause, the lac, is due to the redness of the lady’s feet being natural. Therefore, we see that the pro-
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*i.e., the incongruity is to be removed by explaining the words without the pun.
duction of an effect in the absence of its cause is not inconsistent in as much as the denial of a known cause suggests that the effect produced must be natural or is due to some other hidden cause.
A second kind of Peculiar Causation.
DEF. हेतूनामसमग्रत्वे कार्योत्पत्तिश्च सा मता।
Ex. अस्त्रैरतीक्ष्णकठिनैर्जगज्जयति मन्मथः॥
[TABLE]
Def. When the production of an effect is represented as having taken place while its causes are apparently incomplete, (to produce such an effect), then it is the second kind of Peculiar Causation.
Ex. By weapons, neither sharp nor hard, the God of love conquers the whole world.
Here, the conquest of the world by the God of love is represented as having taken place though his weapons are neither sharp nor hard (being only five flowers) and are therefore quite inadequate to produce such an effect. The contradiction here must be removed by the supposition of some superhuman cause specially gifted by the Supreme Spirit.
A third kind of Peculiar Causation.
DEF. कार्योत्पत्तिस्तृतीया सा सत्यपि प्रतिबंधके।
Ex. नरेंद्रानेव ते राजन् दशत्यसिभुजंगमः॥
[TABLE]
Def. When the production of an effect is said to have taken place though there was an impediment (to such an effect), it is the third kind of Peculiar Causation.
Ex. O king! thy sword-serpent bites only *Narendrān,*i.e., curers of poisons only (lit. kings).
नरेन्द्र=king=dealer in antidotes. Here, serpent biting the curers of poison implies an impediment to the effect.
Fourth kind of Peculiar Causation.
DER. अकारणात्कार्यजन्म चतुर्थी स्याद्विभावना।
Ex. शंखाद्वीणानिनादोऽयमुदेति महदद्भुतम्॥
[TABLE]
Def. When the production of an effect is represented as being from a different cause, or, more literally, from a similar cause, it is the fourth kind of Peculiar Causation.
Ex. It is a great wonder that this musical sound of a lute proceeds from a conch-shell (i.e., conch-shell-like neck of a damsel).
We know that a conch-shell cannot produce the sound of a lute and therefore this is a Peculiar Causation.
N.B.— We have a Metaphorical Hyporbole in शंख, the upamāna, because it was used for its upameya, the neck of a damsel.
Fifth kind of Peculiar Causation.
DEF.विरुद्धात्कार्यसंपत्तिर्दृष्टा काचिद्विभावना।
Ex. शीतांशुकिरणास्तन्वीं हंत संतापयन्ति ताम्॥
[TABLE]
Def. When the production of an effect is produced from an incongruous cause, i.e., from a cause quite opposite to the real one, it is the fifth kind of Peculiar Causation.
Ex. Alas! the rays of the moon (lit. cool-rayed) inflame that slender lady.
This is the state of a damsel, the object on hand, pining under separation from her lover. The rays of the moon have a peculiar charm of exciting the passions of such women and therefore it is said so.
Sixth kind of Peculiar Causation.
DEE. कार्यात्कारणजन्मापि दृष्टा काचिद्विभावना।
Ex. यशः पयोराशिरभूत्करकल्पतरोस्तव॥
[TABLE]
Def. When the cause is said to have been produced from its effect, it is also termed Peculiar Causation.
Ex. O king! An ocean of fame has been formed out of thy hand-kalpataru (wish-yielding tree in the form of thy hand).
Here, the king referred to is Karṇa renowned for his liberal donations.
The kalpa tree was produced from the ocean at the time of churning. Here, the kalpa tree in the form of the king’s hand is said to be the cause of the ocean in the form of the king’s fame for his unusual liberality.
XXXV. विशेषोक्तिः— Peculiar Allegation.
DEF. कार्याजनिर्विशेषोक्तिः सति पुष्कलकारणे।
Ex. हृदि स्नेहक्षयो नाभूत्स्मरदीपे ज्वलत्यपि।
[TABLE]
Def. The non-production of an effect when there existed abundant cause (for the same) is called Peculiar Allegation.
Ex. The diminution of oil (lit. affection) did not take place in the heart (of this lady pining under separation) even though the cupid-lamp is burning(there).
Here, the burning of the cupid-lamp, the cause, is present and yet the effect, the diminution of oil, is represented as not taking place. The contradiction can, however, be removed by explaining the word स्नेह in the sense of ‘affection’ only.
XXXVI. असंभवः—Improbability.
DEF.असंभवोऽर्थनिष्पत्तेरसंभाव्यत्ववर्णनम्।
Ex. को वेद गोपशिशुकःशैलमुत्पाटयेदिति॥
[TABLE]
Def. Improbability is the description of the accomplishment of a truly impossible act.
Ex. Who knew that this shepherd boy would have eradicated the Mountain Govardhana.
The shepherd boy is the Lord Kṛishṇa who held up the Mountain Govardhana for seven days as a large umbrella to shelter his beloved Gopīs and their cattle from the heavy and incessent rain caused by Indra to deluge the Gokūla, the land of the shepherds.
XXXVII. असंगतिः— Disconnection.
DEE. विरुद्धं भिन्नदेशत्वं कार्यहेत्वोरसंगतिः।
Ex. विषं जलधरैः पीतं मूर्च्छिताः पथिकांगनाः॥
[TABLE]
Def. The description of the effect and the cause as inconsistent and as occupying different locations, is termed Disconnection.
Ex. The poison (lit. water) was drunk by the clouds and the consorts of the travellers fainted.
This figure is only an exception to the ornament of Contradiction (XXXIII) and not Contradiction itself, where the mutual inconsistency of two objects resides in one place ; but in this figure in two different places. The drinking of poison (water) by the clouds and its effect, the fainting of the consorts, take place in two different localities. It is a convention of poets that the women are affected at the sight of the clouds in the rainy season being separated from their lovers who therefore hasten to meet their beloved.
Second and third kinds of Disconnection.
DEF. 2nd अन्यत्रकरणीयस्य ततोऽन्यत्र कृतिश्च सा।
DEF. 3rd अन्यत्कर्तुं प्रवृत्तस्य तद्विरुद्धकृतिस्तथा॥
[TABLE]
Def. When the accomplishment or effect of an object to be produced in a certain locality is represented as having taken place in a quite different locality, it is called the second kind of Disconnection.
Def. An incongruous effect of an object obtained by an agent engaged to do a quite different thing is termed a third kind of Disconnection.
Example of the second kind of Disconnection.
अपारिजातां वसुधां चिकीर्षन् द्यां तथाऽकृथाः।
[TABLE]
Lord Kṛishṇa who wished to make the earth Apārijātā devoid of the multitude of foes† made the celestial world so ie अपारिजाता devoid of Pārijātatree.
Pārijāta is a celestial tree produced at the churning of the milky-ocean. Kṛishṇa at the request of one of his wives Satyabhāmā carried off this tree from Indra’s garden (Nandana). A conflict ensued between Indra and Kṛishṇain which the latter was victorious. The tree was brought to the city Dvārakā and was planted in the Satyabhāmā’s pleasure-garden.
*N. B.—*This figure is possible only under a pun.
गोत्रोद्धारप्रवृत्तोपि गोत्रोद्भेदं पुराकरोः॥
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*अप+अरिजात=अपगतम्—free from अरिजातम्— assemblage of foes यस्याः तादृशीम्= making the earth devoid of the multitude of foes.
अ not + पारिजातःPārijāta tree= नास्ति पारिजातः यस्याम् making the paradise devoid of Pārijāta tree.
† परित्राणाय साधूनां विनाशाय च दुष्कृताम्।
धर्म्मसंस्थापनार्थाय संभवामि युगे युगे॥
For the protection of the good and for the destruction of the wicked and for the establishment of the righteousness I am born in every Yuga.
[TABLE]
O Lord Vishṇu! formerly though thou wert engaged in the raising of the earth, thou didst (the opposite, i.e.) the splitting of the earth (by the foot-prints of the Varāha).
This refers to the third incarnation of Vishṇu in the form of a boar in order to raise the earth which was immersed in water. After raising the earth he walked on the earth and the foot prints made by him are referred to here.
XXXVIII. विषमम्— Incongruity.
DEF. विषमं वर्ण्यते यत्रघटनाऽननुरूपयोः।
Ex. क्वेयं शिरीषमृद्वंगी क्व तादृङ्मदनज्वरः॥
[TABLE]
Def. Vishama is a figure where a combination of two incongruous things is described.
Ex. Where this lady with body as soft as the Sirīsha flower and where these torments or fever of the God of love.
Here, we see the incongruity or incompatible relation of two things which are opposed to each other, i.e., the nature of the God of love is quite opposed to the nature of the lady, under description, whose body is soft as the Sirīsha flower.
Second kind of Incongruity.
DEF. विरुद्धकार्यस्योत्पत्तिरपरं विषमं मतम्।
Ex. कीर्त्तिं प्रसूते धवलां श्यामा तव कृपाणिका॥
[TABLE]
Def. The production of an effect from an incongruous cause is considered a second kind of Incongruity. Or in other words, when the quality of the effect is opposed to that of its cause, it is Incongruity.
Ex. O king! Thy dark sword produces a white fame.
Here, we have white fame arising from the dark sword which has been figured here as the cause in contravention to the general convention— that the quality of an effect must conform to its cause.
Third kind of Incongruity.
DEF.अनिष्टस्याप्यवाप्तिश्च तदिष्टार्थसमुद्यमात्।
Ex. भक्ष्याशयाहिमंजूषां दृष्ट्वाखुस्तेन भक्षितः॥
[TABLE]
Def. The attainment of an undesired object from an endeavour made for a desired one is termed the third kind of Incongruity. Or in other words, when a desired object for which an endeavour is made is not obtained but, on the contrary, an unfavourable result is obtained, it is the third kind of Incongruity.
Ex. The rat seeing the snake-basket (entered into the same) in the hope of obtaining some eatables and was itself devoured by it (snake).
Here, the object of the rat to obtain some eatables for it by boring the basket was not attained and it became a pray to the hungry snake lying in the basket.
XXXIX. समम्— The Equal.
DEF. समं स्याद्वर्णनं यत्र द्वयोरप्यनुरूपयोः।
Ex. स्वानुरूपं कृतं सद्म हारेण कुचमण्डलम्॥
[TABLE]
Def. सम is the description of the combination of two agreeable objects.
Ex. The circular bosoms were selected by the pearl-necklace as the (fit) place worthy of itself.
Second kind ofसमम्।
DEF
. सारूप्यमपि कार्य्यस्य कारणेन समं विदुः॥
Ex
. नीचप्रवणता लक्ष्मि ! जलजायास्तवोचिता॥
| कार्य्यस्य of the effect | जलजायाः born of water |
| कारणेन by the cause | तव thy |
| सारूप्यम् अपि sameness also | नीचप्रवणता resorting to the low people |
| समम् Equal | उचिता is worthy. |
| विदुः know | |
| लक्ष्मि ! O Goddess of riches! |
Def. The sameness of an effect with its cause is termed a second kind of Sama.
Ex. O Goddess of riches ! Thy character of resorting to the low (people) is worthy of thyself born of water.
The Goddess Lakshmi was produced at the churning of the Ocean. Here, the character of Lakshmī is said to be the same as that of its cause, the water which naturally flows in a low direction.
Third kind of
समम्।
DEF
. विनानिष्टं च तत्सिद्धिर्यमर्थं कर्तुमुद्यमः।
Ex.
युक्तो वारणलाभोऽयं स्यान्न ते वारणार्थिनः॥
| यम् अर्थम् which thing | वारणार्थिनः seeking for an elephant |
| कर्तुम् to do | ते thy |
| उद्यमः endeavour | अयम् this |
| अनिष्टम् विना without an obstacle | वारणलाभः attainment of वारण (impediment) |
| तत्सिद्धिः the accomplishment of that | युक्तः स्यात् न is it not worthy. |
| समम् the Equal |
Def. The accomplishment, without any obstacle, of an object for which an effort has been made, is termed a third kind of Sama.
Ex. Friend ! Is not this acquisition of (वारण) impediment worthy of thee that sought for an elephant (वारण).
This is possible only under a pun.
The speaker here is a person that went to his king for an elephant. He was obstructed by the doorkeeper of the king’s palace and this was addressed in jest by his (speaker’s) brother-in-law who accompanied him saying that thisवारण (impediment) is equal to that वारण (elephant) sought for.
XL विचित्रम् — Strange.
DEF
. विचित्रं तत्प्रयत्नश्चेद्विपरीतफलेच्छया।
Ex
. नमंति संतस्त्रैलोक्यादपि लब्धुं समुन्नतिम्॥
[TABLE]
Def. If an endeavour is made by a person desiring to attain the exact opposite effect, it is called the Strange.
Ex. The good people bow down for the purpose of attaining an exalted position higher than the triple world.
Here, the act is bowing down and the desired effect is elevation over the triple world.
XLI. अधिकम् — Exceeding.
DEF
. अधिकं पृथुलाधारादाधेयाधिक्यवर्णनम्॥
Ex
. ब्रह्मांडानि जले यत्र तत्र भांति न ते गुणाः॥
[TABLE]
Def. When the object contained is described as vaster than the containant itself (which is really more spacious), it is termed the Exceeding.
Ex. Lord! The waters which contain these mundane worlds could not contain (within themselves all) thy good qualities.
Second kind of Exceeding.
DEF
. पृथ्वाधेयाद्यदाधाराधिक्यं तदपि तन्मतम्।
Ex
. कियद्वाग्ब्रह्म यत्रैते विश्राम्यंति गुणास्तव॥
[TABLE]
Def. When the containant itself is described as vaster than the vast contained, then we have a second kind of Exceeding.
Ex. How great is the speech Brahman = Vedas, where all these thy good qualities come to an end, i.e., become completely described.
XLII**. अल्पम्—**Smallness.
DEF**. अल्पंतु सूक्ष्मादाधेयाद्यदाधारस्य सूक्ष्मता॥**
Ex**. मणिमालोर्मिका तेऽद्य जपमालायते करे॥**
| सूक्ष्मात्ऽmall | अद्यto-day |
| आधेयात्than the object contained. | ते thy |
| यत् which | करे in the hand |
| आधारस्य of the containant | मणिमालोर्मिका ring inlaid with precious stones. |
| सूक्ष्मताऽmallness | जपमालायते becomes a rosary. |
| अल्पम्ऽmallness |
Def. When the containant is described as smaller than the object contained which is really very small, it is called Smallness.
Ex. Lady ! Thy ring inlaid with precious stones has become to-day a rosary in thy hand.
Here, the thinness of the hand or the finger which contained the ring is meant. The lady under description was suffering from the pangs of seperation from her lover on a certain day and so her hand or finger, the containant, became so thin that the ring, the object contained, became greater than the hand, the containant, and served as a rosary.
XLIII
. अन्योन्यम्—The Reciprocal.
DEF
. अन्योन्यं नाम यत्र स्यादुपकारः परस्परम्॥
Ex
. त्रियामा शशिना भाति शशी भाति त्रियामया।
| यत्र where | त्रियामा the night |
| परस्परम् mutual | शशिना by the moon |
| उपकारः benefit | भाति looks splendid |
| स्यात् is | शशी the moon |
| (तत्र) there | त्रियामया by the night |
| अन्योन्यम् नाम the figure called Reciprocal | भाति looks splendid. |
Def. When two things benefit each other (by doing the same act causing each other’s beauty), it is the Reciprocal.
Ex. The night is splendid by (the presence of) the moon and the moon looks splendid on account of the night.
Here, the night and the moon beautify each other. The night is the cause of the moon looking splendid and the moon is the cause of the night looking splendid.
XLIV. विशेषः— The Extraordinary.
DEF**. विशेषः ख्यातमाधारं विनाप्याधेयवर्णनम्।**
** EX. गतेऽपि सूर्ये दीपस्थास्तमश्छिंदंति तत्कराः॥**
| ख्यातम् well-known | सूर्ये the sun |
| आधारम् the containant | गते अपि though set |
| विनापि even without | दीपस्थाः abiding in the lamp |
| आधेयवर्णनम् the description of the Object contained | तत्कराः its (sun’s) rays |
| विशेषः Extraordinary | तमः the darkness |
| छिंदंति expel. |
Def. The description of something dependent, i.e., the object contained as existing without its wellknown supporter, i.e., the containant, or in other words, the representation of the independent existence of the object contained without its supporter on which it depends, is termed the Extraordinary.
Ex. Though the sun has set in, yet its rays abiding in the lamp expel the darkness.
The statement that lamps expel the darkness onlyby the rays of the sun which has gone to the other side of the earth is Extraordinary.
- N.B.—* The Vedas declare that the lustre of the sun enters the fire in the evening. Compare Raghuvansa, IV. 1.
स राज्यं गुरुणादत्तं प्रतिपद्याधिकं बभौ।
दिनान्ते निहितं तेजः सवित्रेव हुताशनः॥
He (Raghu) obtained the kingdom given by (his) father and shone the more just as the fire that got the lustre deposited with (it) by the sun at the close of the day.
- N. B.—*For Vedic quotations on this, see the Mallinatha’s commentary on the verse.
Second kind of the Extraordinary.
DEF
. विशेषः सोऽपि यद्येकं वस्त्वनेकत्रवर्ण्यते।
Ex
. अंतर्बहिःपुरःपश्चात्सर्वदिक्ष्वपि सैव मे॥
| यदि if | अंतः in |
| एकं one | बहिः out |
| वस्तु object | पुरः in the front |
| अनेकत्र in many places | पश्चात् behind |
| वर्ण्यते is described | मे सर्वदिक्षु अपि in all the directions |
| सोऽपि that too | सैव only she. |
| विशेषः the Extraordinary |
Def. If one and the same object is described as existing in many places, it is also termed the Extra-ordinary.
Ex. In my mind, in the outside, in the front, behind my back, in all the directions too (wherever I turn my face), only she (my beloved) appears (to me).
Here, one single object is said to exist uniformly in many places.
- N.B.—*Although these as well as certain other representations are impossible and opposed to ordinary experiences possible only metaphorically.
Third kind of the Extraordinary.
DEF
. किंचिदारंभतोऽशक्यवस्त्वंतरकृतिश्च सः।
Ex
. त्वां पश्यता मया लब्धं कल्पद्रुमनिरीक्षणम्॥
| किंचित्a certain (act) | त्वां thee |
| आरंभतः commencing to do | पश्यता seeing |
| अशक्यवस्त्वंतरकृतिश्च even the performance of another impossible act | मया by me |
| सः the Extraordinary | कल्पद्रुमनिरीक्षणम् the sight of the kalpa tree |
| लब्धम् was got. |
Def. When some one who has commenced to do an act chances to do another impossible act (unconnected with the former), it is the third kind of the Extraordinary.
Ex. By seeing you, (O king!) I got the sight of the wish-yielding tree of the paradise.
Here, the speaker who first commenced to do an act, i.e., seeing the king, the liberal donor, says that he has seen the kalpa tree (instead of seeing the king himself who has now been identified by the speaker with the kalpa tree) of the paradise very difficult to obtain.
XLV. **व्याघातः—**Frustration.
DEF**. स्याद्व्याघातोऽन्यथाकारि तथाकारि क्रियेत चेत्।**
** Ex. यैर्जगत्प्रीयते हंति तैरेव कुसुमायुधः॥**
| चेत् if | यैः (पुष्पैः) by which (flowers) |
| तथाकारि the thing which produces its natural effect | जगत् the world |
| अन्यथाकारि as the one which produces another effect | प्रीयते is pleased |
| क्रियेत is represented | तैः एव by the same (flowers) |
| व्याघातः स्यात् it is frudtration. | कुसुमायुधः the flower-shafted God of love |
| हंति torments. |
Def. When a thing which produces the established result, i.e., the effect natural to its cause is
represented to have produced the exact opposite result, it is called Frustration.
Ex. By the (same) flowers by which the people of the world become pleased, Cupid (lit. flower-shafted God of love) torments the world.
Here, the effect, i.e., tormenting is produced by the flowers—the cause, which are well-known to produce a quite opposite one*, i.e.,* pleasure. Hence this is called Frustration on account of the frustration of an established effect already fulfilled in an object.
Second kind of Frustration.
DEF**. सौकर्येण निबद्धापि क्रिया कार्यविरोधिनी।**
** Ex. दया चेद्वाल इति मय्यपरित्याज्य एव ते॥**
| सौकर्येण with facility | बाल इति on account of being a boy |
| निबद्धा begun | दया चेत् if (thou hast) compassion |
| क्रिया an act | ते by thee |
| कार्यविरोधिनी the contrary of that act | अपरित्याज्य एव cannot be abandoned. |
| अपि (here) also | |
| (व्याघातः) Frustration | |
| मयि on me |
Def. If a certain act commenced (by one) on the ground of its being facile turns out contrary, it is the second kind of Frustration.
Ex. O King! If thou hast compassion on me, then I, being a boy, should not be abandoned here (now by thee going to battle-field).
This is said by a crown-prince to this king going to war. The king seems to have asked him to stay
at home for he being a boy could not bear the terrible toils of a battle field. The crown-prince mentions the same reason to accompany the king for he being a youth must go to the war and become skilled in the arts of war, or, as one commentator says, he (the youth) could not bear the separation from the king. Thus we see the frustration of the object which the king had at first.
XLVI. कारणमाला— Garland of Causes.
DEF. गुंफःकारणमाला स्याद्यथाप्राक्प्रांतकारणैः।
** **Ex.नयेन श्रीःश्रिया त्यागस्त्यागेन विपुलं यशः॥
| यथाप्राक्प्रांतकारणैः by the causes in which a preceding object is spoken of as the cause of the succeeding one | स्यात् is called |
| गुंफःarrangement | नयेन by morality. |
| कारणमाला Garland of Causes | श्रीः wealth |
| श्रिया by wealth | |
| त्यागः donation | |
| त्यागेन by donation | |
| विपुलं यशः wide fame. |
Def. When a preceding object is spoken of as the cause of one succeeding it, which in turn is spoken of as the cause of what comes next and so on, it is termed the Garland of Causes.
Ex. From morality wealth (is acquired); from wealth, the donation; from donation, the wide fame.
Here, the morality mentioned first is spoken of as the cause of the succeeding object, the wealth, which in turn is spoken of as the cause of donation, etc.
This figure occurs also when one object, mentioned afterwards, is spoken of as the cause of what precedes and so on.
Ex. भवन्ति नरकाः पापात् पापं दारिद्र्यसंभवम्।
दारिद्र्यमप्रदानेन तस्माद्दानपरो भव॥
(People) go to hell on account of (their) sin ; sin results from poverty ; poverty from non-giving. Therefore (friend) be always munificient.
XLVII. **एकावली—**The Necklace.
DEF
. गृहीतमुक्तरीत्यार्थश्रेणिरेकावली मता।
Ex
. नेत्रे कर्णांतविश्रांते कर्णौ दोस्तंभदोलितौ॥
दोस्तंभौ जानुपर्यंतप्रलंबनमनोहरौ।
जानुनी रत्नमुकुराकारे तस्य महीभुजः॥
| गृहीतमुक्तरीत्यार्थश्रेणिः а series ofstatements in which each succeeding thing is taken as an attribute of each preceding and then made to cease as such | कर्णांतविश्रांते extending as far as the ears |
| एकाकली मता is considered theNecklace | कर्णौ ears |
| तस्य महीभुजः of that king | दोस्तंभदोलितौ extrending as far as the post-like arms |
| नेत्रे eyes | दोस्तभौ post-like arms |
| जानुपर्यंतप्रलंबनमनोहरौ charming on account of their extension as far as the knees | |
| जानुनी knees | |
| रत्नमुकुराकारे appearing like jewelled mirrors. |
Def. A successive series of statements made in a manner in which each succeeding thing is taken**(गृहीत)** as an attribute of each preceding thing and that thing which was first taken as an attribute is
made to cease **(मुक्त)**as such by being afterwards made a subject and qualified by another succeeding thing and so on, it is the Necklace.
Ex. The eyes of that king extend as far as the His ears extend as far as his post-like arms. His post-like arms are charming by their extension as far his knees. And his kness are, in appearance, jewelled mirrors.
Here, the ears are taken as an attribute of the preceding thing, the eyes; arms, of the ears; knees, of arms; and the mirrors, of the knees.
In this example, a preceding thing is qualified by the succeeding thing affirmatively. In the following example, the thing mentioned first is qualified negatively by what follows.
न तज्जलं यन्न सुचारुपङ्कजं
न पङ्कजं तद् यदलीनषट्पदम्।
न षट्पदोऽसौ न जुगुञ्ज यः कलं
न गुञ्जितं तन्न जहार यन्मनः॥
Bhaṭṭi Kāvya, II. 19.
There was no water on which there were no beautiful lotusses; there was not a lotus in the interior of which there was not a bee reposing; there was not a bee which hummed not sweetly; and there was not a hum which did not attract the mind.
Here, of water, lotuses must be considered as denied; of lotuses, bees; of bees, humming; and of humming, attraction.
XLVIII. **मालादीपकम्—**The Serial Illuminator.
DEF
. दीपकैकावलीयोगान्मालादीपकमुच्यते।
Ex
. स्मरेण हृदये तस्यास्तेन त्वयि कृतास्थितिः॥
| दीपकैकावलीयोगात् from a combination of the figures the Illuminator andthe Necklace | स्मरणे by cupid |
| मालदीपकम् the serial Illuminator | तस्याः हृदये in her heart |
| उच्यते is called | स्थितिः setting one’s foot |
| कृता was made | |
| तेन by him | |
| त्वयि in thee |
Def. A combination of the figures, दीपकम् (Illuminator XV) and एकावली (Necklace XLII), is called the Serial Illuminator. Or, in other words, the Serial Illuminator is that wherein a number of different objects is successively associated with one and the same attribute.
Ex. Cupid set his foot in the heart of that lady, and by it, i.e., the heart of the lady, in thee.
This is addressed to a lover by a go-between sent by her mistress pining under separation.
Here, the one and the same attribute स्थितिः कृता being associated with two objects प्रकृत and अप्रकृत, it is the Illuminator ; and by ग्रहीतमुक्तरीत्या of the lady’s heart, it is the Necklace (see the preceding figure). Thus, we have a blending of the two.
XLIX. **सारः—**The Climax.
DEF**. उत्तरोत्तरमुत्कर्षः सार इत्यभिधीयते।**
Ex**. मधुरं मधु पीयुषं तस्मात्तस्मात्कवेर्वचः॥**
| उत्तरोत्तरम् successively | मधुरम् sweet |
| उत्कर्षः Excellence | तस्मात् than that |
| सार इति the figure Climax | पीयुषम् the nectar |
| अभिधीयते is called | तस्मात् than that |
| मधु honey | कवे वचः poet’s speech |
Def. Excellence (rising) successively is termed the Climax.
Ex. The honey is sweet; the nectar is sweeter than that ; and, than that, poet’s speech.
Here, each succeding thing, nectar etc., rises gradually in excellence.
L. **यथासंख्यम्—**The Relative Order.
DEF.
यथासंख्यं क्रमेणैव क्रमिकाणां समन्वयः।
Ex
. शत्रु मित्रं विपत्तिं च जय रंजय भंजय॥
| क्रमिकाणाम् of serial objects | जय conquer |
| क्रमेणैव in due order | मित्रम् the friend |
| समन्वयः mutual connection | रंजय gratify |
| यथासंख्यम् The Relative Order | विपत्तिम् the calamity |
| शत्रुम् the foe | भंजय destroy. |
Def. The Relative Order is a mutual connection of a series of objects mentioned in their due order.
Ex. O king! Conquer, gratify, destroy (thy) foe, friend and the calamity respectively.
Here, a series of objects शत्रुम्, मित्रम् and विपत्तिम् is respectively connected with जय,रञ्जयand भञ्जय in their due order.
LI. **पर्यायः—**The Sequence.
DEE**. पर्यायो यदि पर्यायेणैकस्यानेकसंश्रयः।**
** EX. पद्म मुक्त्वा गता चंद्रं कामिनीवदनप्रभा॥**
| यदि if | कामिनीवदनप्रभा the lustre of this lovely woman’s face |
| एकस्य of one object | पद्मम् the lotus |
| पर्यायेण in succession | मुक्त्वा having left |
| अनेकसंशयः residing in many places | चंद्रं the moon |
| पर्यायः the sequence | गता resorted to. |
Def. When one object is described as residing in many places in succession, it is termed the Sequence.
Ex. Having left the lotus, the lustre of this lovely woman’s face now resorted to the moon.
Here, the lustre which is stated as one is said to reside in many places in succession.
Second kind of the Sequence.
DEF**. एकस्मिन्यद्यनेकं वा पर्यायः सोऽपि संमतः।**
** Ex. अधुना पुलिनं तत्र यत्र स्रोतः पुराऽजनि॥**
| यदि वा or if | पुरा formerly |
| एकस्मिन् in one object | स्रोतः water |
| अनेकम् many | अजनि was |
| सोऽपि that too | अधुना now |
| पर्यायः the sequence | तत्र there |
| संमतः is regarded | पुलिनम् sand bank. |
| यत्र where |
Def. Or, if many objects are said to reside in one and the same place in succession, that too is regarded as the Sequence.
Ex. Sand bank is now seen in the place where there was water formerly.
Here, the water and the sand bank are said to be successively residing in the same place.
LII. **परिवृत्तिः—**The Return.
DEF**. परिवृत्तिर्विनिमयो न्यूनाभ्यधिकयोर्मिथः।**
** Ex. जग्राहैकं शरं मुक्त्वा कटाक्षान् सरिपुश्रियः॥**
| न्यूनाभ्यधिकयोः of lesser and greater things | एकम् शरम् one arrow |
| मिथः mutual | मुक्त्वा having discharged |
| विनिमयः exchange | रिपुश्रियः of the enemy’s Goddess of wealth |
| परिवृत्तिः the Return | कटाक्षान् (many) side-glances |
| (स राजा) that king | जग्राह received. |
Def. The Return is a mutual exchange of things lesser or greater.
Ex. The king discharged (i.e. gave) one arrow and received (in turn, many) side-glances of the Goddess of wealth of his foes.
Here, we have an exchange for what is greater, i.e. giving the lesser (शरम्) for the greater (कटाक्षान्).
LIII. **परिसङ्ख्या—**The Special Mention or
The Exclusion of Specification.
DEF**. परिसङ्ख्या निषिद्धैकमेकस्मिन्वस्तुयन्त्रणम्।**
** Ex. स्नेहक्षयः प्रदीपेषु न स्वान्तेषु नतभ्रुवाम्॥**
| एकस्मिन् in one onject on hand | प्रदीपेषु in the lamps |
| एकम् वस्तु one object | नतभ्रुवाम् of women of curved eye- brows |
| निषिध्य having denied | स्वान्तेषु in the hearts |
| यन्त्रणम् restriction | न not |
| परिसङ्ख्या the Special Mention | |
| स्नेहक्षयः diminution of oil |
Def. The denial of the existence of something in a certain object and the restriction of its existence in another object constitutes the figure the Special Mention.
Ex. The diminution of oil (i.e. affection) was in the lamps and not in the hearts of women of curved eye-brows.
LIV. **विकल्पः—**The Alternative.
DEF
. विरोधे तुल्यबलयोर्विकल्पालंकृतिर्मता।
Ex
. सद्यः शिरांसि चापान् वा नमयन्तु महीभूजः॥
| तुल्यबलयोः of equal probability | महौभुजः the kings |
| विरोधे when there is opposition | सद्यः at once |
| विकल्पालंकृतिः the Alternative | शिरांसि their heads |
| मता is considered | नमयन्तु let bend |
| चापान् वा or their bows. |
Def. When there is an opposition of two things of equal probability, or, in other words, when the performance of two such things becomes impossible at the same time and thus restricts the agent to have recourse to only one of them, it is called the Alternative.
Ex. Let the kings*1 bend at once their heads or their bows.
Here, we see the impossibility of simultaneous action of the bending of the heads and that of the bows which are opposed to each other, the former being the mark of surrender and the latter, of war.
LV. **समुच्चयः—**The Conjunction.
DEF
. बहूनां युगपद्भावभाजां गुम्फः समुच्चयः।
Ex
. नश्यन्ति पश्चात्पश्यन्ति भ्रश्यन्ति च भवद्द्विषः॥
| युगपद्भावभाजाम् of actions of simultaniety | भवद्द्विषः thy foes |
| वहुनाम् of many | नश्यन्ति take flight |
| गुम्फः combination | पश्चात् on back |
| समुच्चयः the Conjunction | पश्यन्ति see |
| भ्रश्यन्ति च and fall down. |
Def. The Conjunction is a combination of many actions that are described as being simultaneously produced.
Ex. O King ! thy enemies flee, turning their backs, see thee and fall down.
Here, though the actions of fleeing, seeing, falling down took place in succession, yet we have the simultaniety of those actions considering their speedy performance.
Compare the celebrated laconic report which Cæsar sent to Rome concerning his victory over Pharnaces at Tela ‘I came, saw, conquered’ (veni,vedi, vici).
Second kind of the Conjunction.
DEF
. अहंप्राथमिकाभाजामेककार्यान्वयोऽपि सः।
Ex
. कुलं रूपं वयो विद्या धनं च मदयन्त्यमुम्॥
| प्राथमिकाभाजाम् of things with emulation | कुलम् noble birth |
| एककार्यान्वयः that go to effect one thing | रुपम् handsome appearance |
| अपि also | वयः the pime of youth |
| सः that i.e. the conjunction | विद्या learning |
| धनंच and the wealth | |
| अमुम् him | |
| मदयन्ति exhilerate |
Def. A combination of many things that go to effect a thing with emulation or competition, is also termed the Conjunction. Or, in other words, a combination of many things independent of each other but represented as simultaneously producing the same common effect is called the Conjunction.
Ex. Noble birth, handsome appearance, the prime of youth, learning and the wealth exhileratehim.
LVI. कारकदीपकम् — The Case-Illuminator.
DEF
. क्रमिकैकगतानां तु गुंफः कारकदीपकम्।
Ex
. गच्छत्यागच्छति पुनः पान्थः पश्यति पृच्छति॥
| क्रमिकैकगतानाम् of actions connected with one kāraka in succession | पान्थः traveller |
| गुम्फः combination | गच्छति goes |
| कारकदीपकम् the Case-Illuminator | पुनः again |
| आगच्छति comes | |
| पश्यति sees | |
| पृच्छति asks. |
Def. A combination of actions that are succes sively connected with one Kāraka (case-noun) is called कारकदीपम्. Or, in other words, when the same Kāraka (case-noun) is connected with many verbs in succession, it is कारकदीपकम्.
Ex. The traveller goes, again comes, sees and asks (something).
Here, पान्थः—a noun in the nominative case, is connected with 4 verbs गच्छति, etc., in succession but not simultaneously as in the preceding figure समुच्चयः where simultaniety is desired.
LVII.**समाधिः—**The Convenience.
DEF
. समाधिः कार्यसौकर्यं कारणान्तरसन्निधेः।
Ex
. उत्कण्ठिता च तरुणी जगामास्तं च भानुमान्**॥**
| कारणान्तरसन्निधेः through the persence of some other cause | तरुणी young ledy |
| कार्य्यसौकर्य्यम् facility of an act | उत्कण्ठिता च longed for (her lover) |
| समाधिः the convenience | भानुनाम् the sun |
| अस्तम् जगाम set in. |
Def. When the accomplishment of an act is facilitated by the presence of some other cause, or in other words, when the facilitation of an act is obtained through the accidental operation of another agency, it is called the Convenience.
Ex. No sooner did this young lady long for her lover than the sun set in.
Here, we see the simultaneous occurrence of two actions— the lady’s longing for her lover and the
sun’s setting (expressed by the two चs in the two sentences).
The lady longed for her lover and was about to go to meet him; and this was easily accomplished by the accidental operation of another cause—the setting of the sun, which enabled the lady to set out freely under the protecting mantle of the dark.
LVIII.
प्रत्यनीकम्—
The Rivalry.
DEF**. प्रत्यनीकं बलवतः शत्रोः पक्षे पराक्रमः।**
** Ex. जैत्रनेत्रानुगौ कर्णावुत्पलाभ्यामधः कृतौ॥**
| बलवतः strong | उत्पलाभ्याम् by the lilies |
| शत्रोः of the enemy | जैत्रनेत्रानुगौ the servants of the victorious eyes |
| पक्षे on any partisan | कर्णौ the ears |
| पराक्रमः attempt | अधः कृतौ made to bow down. |
| प्रत्यनीकम् the Rivalry |
Def. When any act of injury or mortification is attempted on a partisan of one’s powerful enemy (by somebody who is unable to avenge himself directly on his enemy), it is called the Rivalry.
The ears, the servants (lit. neighbours) of the victorious eyes, have been made to bow down by the lilies. Woman’s eyes and lilies are often compared to each other, the one excelling the other in beauty. Here, the lilies unable to conquer the eyes avenge themselves on their neighbours, the ears, by making them bend down.
*N.B.—*The lilies are usually worn as ornaments on the ears which bend by their weight.
LIX. **काव्यार्थापत्तिः—**The Necessary Conclusion.
DEF
. कैमुत्येनार्थसंसिद्धिः काव्यार्थापत्तिरिष्यते।
Ex
. स जितस्त्वन्मुखेनेन्दुः का वार्ता सरसीरुहासम्॥
| कैमुत्येन by the expression ‘howmuch more’ | इष्यते is called |
| अर्थसंसिद्धिः accomplishment of an act | त्वन्मुखेन by thy face |
| काव्यार्थापत्तिः the Necessary Conclusion in the province of Poetry | सः इन्दुः that moon |
| जितः was conquered | |
| सरसौरुहाम् of the lotuses | |
| का what | |
| वार्ता mention. |
Def. The accomplishment of an act founded upon the popular maxim कैमुतिकन्यायः‘argument with stronger reason’, is termed the Necessary Conclusion.
** कैमुत्य** is the abstract noun of किमुत ‘how much more’. कैमुतिकन्यायः is usually called दण्डापूपन्यायःthe maxim of the stick and the cakes. When a stick and some cakes are tied together and, when the stick has been eaten away by a rat, we are naturally led to believe that the cakes also have been eaten by the rat, the two things being so closely connected. Thus, when we say something of the one of two such things, the same naturally applies to the other thing also.
Ex. (Lady!) That moon has been conquered by thy face. What necessity is there to speak of (or why we speak of) lotuses.
It is an acknowledged fact that lotuses begin to shrink and become faded on the rise of the moon. When that moon, the subduer of the lotuses, has been conquered, the fact that lotuses too have been conquered much more becomes a necessary conclusion.
LX. **काव्यलिंगम्—**The Poetical Reason.
DEF
. समर्थनीयस्यार्थस्य काब्यलिंगं समर्थनम्।
Ex
. जितोऽसि मन्द कन्दर्प ! मच्चित्तेऽस्ति त्रिलोचनः॥
| समर्थनीयस्य to be esablished | जितः असि thou hast been conquered |
| अर्थस्य of a fact | मच्चित्ते in my mind |
| समर्थनम् justifying | त्रिलोचनः three-eyed god Siva |
| काव्यलिंगम् the poetical reason | अस्ति resides |
| मन्द foolish | |
| कन्दर्प cupid |
Def. The Poetical Reason is a reason justifying a statement which requires to be established.
Ex. O foolish God of love ! Thou hast been conquered (by me). For, in my mind, there resides the three-eyed God Siva.
Here, the fact of the presence of the God Siva in the mind of the speaker is a reason for the speaker’s conquest of the God of Love who has once been burnt by Siva.
LXI. **अर्थान्तरन्यासः—**The Transition.
DEF**. उक्तिरर्थान्तरन्यासः स्यात् सामान्यविशेषयोः।**
EX**.हनूमानव्धिमतरद्दुष्करं किं महात्मनाम्॥**
| सामान्यविशेषयोः of & universal proposition and a particular instance | अव्धिम् the ocean |
| उक्तिः assertion | अतरत् crossed |
| अर्थान्तरन्यासः the Transition | महात्मनाम् of great men |
| हनुमान् the monkey-god Hanūmān | दुष्करम् impossible |
| किम् what. |
Def. The assertion of a universal (proposition) and a particular (instance) is termed the Transition. Or, in other words, when a universal proposition is introduced to support a particular instance, or a particular instance to support a universal proposition, it is called the Transition.
Ex. Hanūmān crossed the ocean; what is impossible for great men ?
Here, a particular instance is confirmed by a universal proposition.
Example of a universal proposition supported by a
particular instance.
गुणवद्वस्तुसंसर्गाद् याति स्वल्पोऽपि गौरवम्।
पुष्पमालानुषंगेण सूत्रं शिरसि धार्यते॥
| गुणद्वस्तुसंसर्गात् by association of the meritorious | पुष्पमालानुषंगेण by the union with a wreath of flowers |
| स्वल्पोऽपि even the meanest creature | सूत्रम् thread |
| गौरवम् greatness | शिरसि on the head |
| याति attains | धार्यते is worn |
Even the meanest creature, by the association of the meritorious, attains to the greatness. A thread united with a wreath of flowers is worn on the head.
Here, a universal proposition is confirmed by a particular instance.
LXII. **विकस्वरः—**The Expansion.
DEF
. यस्मिन्विशेषसामान्यविशेषाः स विकस्वरः।
Ex
. स न जिग्ये महान्तो हि दुर्द्धर्षाः सागरा इव॥
| यस्मिन् in which | सः that (king) |
| विशेषसामान्यविशेषाः particular, general and particular assertions | न जिग्ये was not conquered |
| सः that | हि beacause |
| विकस्वरः the Expansion | महान्तः great men |
| सागरा इव like the oceans | |
| दुर्द्धर्षाः unassailable. |
Def. When a particular is supported by a general which again is supported by a particular, it is called the Expansion. Or, in other words, when a Transition in which a particular instance is supported by a general proposition with a Simile, it is termed the Expansion (of the Transition).
Ex. That (king) was not conquered (by his enemies). For the great men are as unassailable as the oceans.
LXIII. **प्रौढ़ोक्तिः—**The Bold Speech.
DEF
. प्रौढ़ोक्तिरुत्कर्षाहेतौतद्धेतुत्वप्रकल्पनम्।
EX
. कचाः कलिन्दजातीरतमालस्तोममेचकाः॥
| उत्कर्षाहेतौ which cannot form asa cause of excellence | कलिन्दजातीरतमालस्तोममेचकाः as black as the tamāla group grown on the bank of the Yamunā river. |
| तद्धेतुत्वप्रकल्पनम् attribution of a certain cause to it | |
| प्रौढ़ोक्तिः The Bold Speech | |
| कचाः the tresses |
Def. The attribution of a certain cause, to a statement asserted, which cannot form the cause of excellence (of the object described) is called the Bold Speech.
Ex. The tresses (of the Lord Kṛishṇa) are as black as the group of tamāla trees grown on the banks of Kalinda’s daughter Yamunā.
The water of the Yamunā is naturally black as also the tamāla trees. The blackness of the tamāla trees cannot therefore be attributed to their having grown on the banks of the Yamunā river. Still, it is asserted to be so here. Hence it is called the Bold Speech.
LXIV. **संभावना—**The Supposition.
DEF
. सम्भावना यदीत्थं स्यादित्यूहोऽन्यस्य सिद्धये।
Ex
. यदि शेषो भवेद्वक्ता कथिताः स्युर्गुणास्तव॥
| अन्यस्य of another act | शेषः lord of serpents |
| सिद्धये for the accomplishment | वक्ता narrater |
| यदि इत्थं स्यात् if it were so | भवेत् happen |
| इति So | तव thy |
| ऊहः conjecture | गुणाः merits |
| संभावना the supposition | कथिताः स्युः would have been described |
| यदि if |
Def. A conjecture assumed through the use of the expression ‘if it were so’ for the accomplishment of another (impossible) act, is termed the Supposition.
Ex. O God! If the Lord of the serpents were to be the narrater, then all thy merits would have been described.
This form of supposition introduced by a subjunctive clause is reckoned by the author of Kāvyaprakāsa as the third kind of अतिशयोक्ति.
LXV. **मिथ्याध्यवसितिः—**The False Determination.
DEF
. किञ्चिन्मिथ्यात्वसिद्ध्यार्थं मिथ्यार्थान्तरकल्पनम्।
Ex
. मिथ्याध्यवसितिर्वेश्यां वशयेत् खस्रजं वहन्॥
| किञ्चिन्मिथ्यात्वसिद्ध्यार्थं for the purpose of establishing a false assertion | मिथ्याध्यवसितिः the false determination |
| मिथ्यार्थान्तरकल्पनम् a statement of another absolute false thing | खस्रजम् garland of sky-flowers |
| वहन् wearing | |
| वेश्याम् the prostitute | |
| वशयेत् can win over. |
Def. When, for purposes of establishing a false assertion, another absolute false one is introduced, or, in other words, if one false assertion is made to depend upon another absolute false one, then it is called the False Determination. (Reductio ad absurdum = reducing a position to an absurdity).
Ex. Wearing a garland of sky-flowers, one can win over a prostitute.
Sky-flower is an absolute nonentity and does not exist in any period, past, present or future. So the winning over a prostitute becomes also a non-entity. This ornament is also reckoned as one of the kinds of अतिशयोक्ति by the author of K. P.
LXVI. **ललितम्—**The Artful Indication.
DEF
. वर्ण्ये स्याद्वर्ण्यवृत्तान्तप्रतिबिम्बस्य वर्णनम्।
Ex
. ललितं निर्गते नीरें सेतुमेषा चिकीर्षति॥
| वर्ण्ये in the object on hand | एषा this (maiden) |
| वर्ण्यवृत्तान्तप्रतिबिम्बस्य of the reflective representation of an incident on hand | नीरे when water |
| वर्णनम् delineation | निर्गते had gone out |
| ललितम् स्यात् is the Artful Indication | सेतुम् bund |
| चिकीर्षति wishes. |
Def. ललितम् is a delineation of an incident not on hand which ends in a reflective comparison to an incident on hand.
Ex. This (maiden) wishes to raise a bund when all the water had gone out.
This is said by a maid to her mistress who wanted to send for her once neglected lover. The maid instead of telling her mistress that she missed the opportunity and now foolishly wants to bring her lover who has now fallen in love with another lady indirectly intimates the same meaning which is reflectively represented in the expression given in the text. The sending for the lover who once came to the lady, and was neglected by her is the same as the raising of a bund after all the water had gone out.
LXVII. **प्रहर्षणम्—**The Enrapturing.
DEF
. उत्कण्ठितार्थसंसिद्धिर्विना यत्नं प्रहर्षणम्।
Ex
. तामेव ध्यायते तस्मै निसृष्टा सैव दूतिका।
[TABLE]
Def. When the accomplishment of a thing eagerly longed for takes place without any effort for it, or, in other words, when the desired object is obtained by chance, it is called the Enrapturing.
Ex. That same messenger—a confidante—was sent (by a lady) to him (her lover) who was thinking of her only.
This incident took place without any effort on the part of the lover. He was thinking that her lady would send him a disagreeable messenger and, when he saw his own confidante coming as a messenger to him, he could not contain for joy and hence this is called the Enrapturing—the delight beyond measure.
The Second kind of the Enrapturing.
DEF**. वाञ्छितादधिकार्थस्य संसिद्धिश्च प्रहर्षणम्।**
** EX. दीपमुद्योजयेद् यावत्तावदभ्युदितो रविः॥**
| वाञ्छितात् than the desired | दीपम् the lamp |
| अधिकार्थस्य of something more | उद्योजयेत् kindle |
| संसिद्धिः attainment | तावत् than |
| प्रहर्षणम् the Enrapturing | रविः the sun |
| यावत् no sooner | अभ्युदितः rose. |
Def. The attainment of something more than what was desired is called the second kind of the Enrapturing.
Ex. No sooner did she kindle the lamp, than the sun rose.
Here the lady rose and wanted to kindle the lamp and, when she came out of her room, she saw the sun risen. This is more than what was desired.
Third kind of the Enrapturing.
DEF**.यत्नादुपायसिद्ध्यार्थात्माक्षाल्लभः फलस्य च।**
** **Ex. निध्यञ्जनौषधीमूलं खनता साधितो निधिः॥
| उपायसिद्ध्यार्थात् attainment of ameans | निध्यंजनौषधीमूलम् the root of magic plant |
| यत्नात् from an effort | खनता by a digger |
| साक्षात् फलस्य of the object itself | निधिः treasure |
| लाभः च attainment also | साधितः was obtained. |
Def. When, by an effort made for the attainment of a means to get the object desired, the desired object itself is obtained, it is the third kind of the Enrapturing.
Ex. By him who dug the root of the magic plant for the purpose of discovering the treasure hidden under the earth, the treasure itself was obtained.
LXVIII. **विषादनम्—**The Despondency.
DEF
. इष्यमाणविरुद्धार्थसंप्राप्तिस्तु विषादनम्।
Ex
. दीपमुद्योजयेद् यावन्निर्वाणस्तावदेव सः।
| इष्यमाणविरुद्धार्थसंप्राप्तिः तु the attainment of a thing opposed to what was desired | दीपम् the lamp |
| विषादनम् the Despondency | उद्यीजयेत् kindles |
| यावत् no sooner | तावदेव than |
| सः that | |
| निर्माणः extinguished. |
Def. The attainment of a thing quite opposed to what was desired is termed the Despondency.
Ex. No sooner did she kindle the lamp, than it extinguished.
LXIX. **उल्लासः—**Abandonment.
** **DEF. एकस्य गुणदोषाभ्यामुल्लासोऽन्यस्य तौ यदि।
** **Ex. अपि मां पावयेत्साध्वी स्नात्वेतीच्छति जाह्नवी॥
[TABLE]
Def. If the delineation of merit and demerit of one object conveys a reference to the merit and demerit of another object, or, in other words, if (1) the merit of one object refer to the merit of another object, (2) the demerit, to the demerit, (3) the merit, to the demerit, and (4) the demerit, to the merit, then it is called the Abandonment.
Ex. ‘Will not a chaste woman (come and) bathe (in my waters) and purify me also’, so the river Gangā desires.
Here the merit—the purificating character of a chaste woman refers to the merit of the Gangā who prays for purification. Hence this is the example of No. 1 merit referring to a merit.
Example of (2) demerit referring to a demerit.
काठिन्यं कुचयोः सृष्टं वाञ्छन्त्यः पादपद्मयोः।
निन्दंति च विधातारं त्वद्धाटीष्वरियोषितः॥
| कुचयोः of the bosoms | अरियोषितः the women of (thy) foes |
| काठिन्यम् hardness | त्वद्धाटीषु in thy cavalry |
| पादपद्मयोः lotus like feet | विधातारम् the Creator |
| सृष्टम् created | निन्दंति censure. |
| वाञ्छन्त्यः desiring |
Ex. O king ! the widows of thy foemen desiring, (when they are pursued by) thy cavalry, the hardness created for their bosoms to be created for their lotuslike feet censure the Creator (Brahmā).
Here, the widows of the foemen censure the creator for not having created the hardness of their bosoms in their soft feet, the former being useless because of their widow-hood and the latter being now useful to enable them to flee away from the pursuing cavalry of the king. The demerit of the bosoms in their widow-hood refers to the demerit of their soft feet unfit for fleeing away from the enemy.
Example of (3) Merit referring to a demerit.
तदभाग्यं धनस्यैव यन्नाश्रयति सज्जनम्॥
| यत् because | तत् that |
| ससज्जनम् the good man | धनस्य एव of the riches only |
| न आश्रयति does not resort to | अभाग्यम् misfortune. |
Ex. It is the misfortune of riches themselves in that they do not resort to the good people.
Here, the merit of the good people refers to the demerit of the riches in their not resorting to the good people.
Example of (4) demerit referring to a merit.
लाभोयमेव भूपालसेवकानां न चेद्वधः॥
| चेत् if | न not |
| भूपालसेवकानाम् of the servants of the king | अयम् एव this itself |
| वधः killing | लाभः a boon. |
If the servants of this king are not killed, then it itself is a boon (to them).
The king referred to is such a cruel man that nonkilling his servants is considered a great boon even if they do not get their pay. Here, the cruelty, the demerit of the king, refers to the merit on the part of his servants, i.e., their continuance without being killed.
LXX. **अवज्ञालंकृतिः—**Non- Abandonment.
DEF
. ताभ्यां तौ यदि न स्यातामवज्ञालंकृतिस्तु सा।
Ex
. स्वल्पमेवांबु लभते प्रस्थं प्राप्यापि सागरम्॥
| यदि if | प्रस्थम् a measure |
| ताभ्याम् by those two | सागरम् ocean |
| तौ those two | प्राप्यापि though reached |
| न स्याताम् do not occur | स्वल्पमेव only a small quantity |
| सा that | अंबु water |
| अवज्ञालंकृतिः Non-Abandonment | लभते gets. |
Def. If, by the delineation of them, i.e., merit and demerit of one object, they— the merit and demerit of another object—do not occur, then it is called the Non-Abandonment.
Ex. This measure (of 32 palas) gets only a small quantity into it even though it reached the ocean.
The particular measure holds the same quantity of water even in the ocean which is the receptacle of immense water and which is not able to supply more water.
Here, the merit of the measure refers to no merit of the ocean.
Example of demerit occasioning no demerit.
मीलंति यदि पद्मानि का हानिरमृतद्युतेः॥
| यदि if | अमृतद्युतेः to the moon |
| पद्मानि lotuses | का what |
| मीलंति contract | हानिः detriment. |
If the lotuses were to contract (at night), then what detriment accrues to the moon (nectar-rayed).
Here, the demerit of the lotus refers to no demerit of the moon.
LXXI. **अनुज्ञा—**The Permission.
DEF
. दोषस्याभ्यर्थनाऽनुज्ञा तत्रैव गुणदर्शनात्।
Ex
. विपदः सन्तु नः शश्वद् यासु संकीर्त्यते हरिः॥
| दोषस्य of all undesired object | नः to us |
| अभ्यर्थना praying for | शश्वत् always |
| तत्रैव in itself | विपदः calamities |
| गुणदर्शनात् on account of theresult of good qualities | सन्तु let occur |
| अनुज्ञा the Permission | यासु in which |
| हरिः God Vishnu | |
| संकीर्त्यते is glorified. |
Def. The praying for an undesired object on the ground of the acquirement of virtuous qualities resulting from it, is called the Permission.
Ex. Lord Krishna ! Let calamities always occur to us— the calamities in which the God Hari is
glorified.
This is a request made to Kṛishṇa by Kuntī, the mother of the Pāndavas.
LXXII. **लेशः—**The Suggestion.
DEF**. लेशः स्याद्दोषगुणयोर्गुणदोषत्वकल्पनम्।**
Ex
. अखिलेषु विहङ्गेषु हन्त स्वच्छन्दचारिषु॥
शुक ! पञ्जरबन्धस्ते मधुराणां गिरां फलम्॥
| दोषगुणयोः of demerit and merit | शुक ! parrot ! |
| गुणदोषत्वकल्पनम् attribution of merit and demerit | ते thy |
| लेशः स्यात् is the Suggestion | पञ्जरबन्धः confinement in a cage |
| हन्त Alas ! | मधुराणाम् melodious |
| अखिलेषु विहंगेषु when all the birds | गिराम् of songs |
| स्वच्छन्दचारिषु freely wander | फलम् result. |
Def. लेशःis a figure in which the merit and demerit of one thing are respectively construed to the demerit and merit of the other.
Ex. Alas! parrot! when all other birds freely wander about at their will, thy confinement in the cage is the result of thy melodious songs.
Here, the utterance of melodious sounds is construed to be a demerit in a parrot and the non-utterance is construed to be a merit in other birds.
LXXIII.**मुद्रा—**The Sealing.
DEF.
सूच्यार्थसूचनं मुद्रा प्रकृतार्थपरैः पदैः।
Ex.
नितंबगुर्वी तरुणी दृग्युग्मविपुला च सा॥
| प्रकृतार्थपरैः serving the sense on hand | मुद्रा the Sealing |
| पदैः by words | सा तरुणी that young maiden |
| सूच्यार्थसूचनम् intimation of the object to be hinted at | नितंबगुवीं having large buttocks |
| दृग्युग्मविपुला च having a couple of spacious eyes. |
Def. If the words that serve to signify the sense on hand intimate also theobject to be hinted at,then it is called the Sealing.
Ex. This maiden has large buttocks and a couple of spacious eyes.
Here,युग्मविपुलाserves to signify the sense required for the description of the lady the subject on hand. The same word is also the name of a metre of अनुष्टुम् class containing 8 syllables for each quarter wherein the seventh syllable of the 2nd and 4th quarters must be short. Thus, we see that the same word that served the purpose on hand—the description of the lady— also names the metre of the verse to be hinted at by the poet, the stanza being the illustration of that metre.
It is usual among the Sanskrit prosodians to illustrate a metre, defined, by a stanza containing the name of that metre which will also serve to explain the sense contained in the stanza. Hence the figure is called** मुद्रा—** an expression of things by their right names.
LXXIV**. रत्नावली—**The Jewelled Necklace.
DEF.
क्रमिकं प्रकृतार्थानां न्यासं रत्नावलीं विदुः।
Ex.
चतुरास्यः पतिर्लक्ष्म्या सर्वज्ञस्त्वं महीपते॥
| प्रकृतार्थानाम् of the words servingthe sense on hand | चतुरास्यःhaving2 handsome face or four3 headedGod Brahmā |
| क्रमिकं serial | लक्ष्म्याः of riches=of Goddess Lakshmī |
| न्यासम् putting | पतिः lord |
| रत्नावलीम् The Jewelled Necklace | सर्वज्ञः omniscient or God Siva. |
| विदुः (poets) know | |
| महीपते O king! | |
| त्वम् thou |
Def. Ratnāvalī is a figure containing a number of words serving the sense on hand but put in an established order of succession (with reference to objects not on hand).
Ex. O Lord of earth! thou hast a handsome face (art god Brahmā); thou art the lord of wealth (the Lord Vishṇu); thou art omniscient (Lord Siva).
Here, the words चतुरास्यःetc., serve the sense on hand in describing the king and are also names of
the Hindu Triad, in their order—Brahmā, Vishnu and Siva, the objects not on hand to which the king is identified in succession.
The difference between this figure and the figure मुद्रा (LXXIII) is that in this figure the sense of the words referring to objects not on hand—i.e. the sense to be hinted at—also serves to explain the sentence in another way under a pun, but it is not so in the Mudrā.
LXXV. **तद्गुणः—**The Borrower.
DEF.
तद्गुणः स्वगुणत्यागादन्यदीयगुणग्रहः।
Ex.
पद्मरागायते नासामौक्तिकं तेऽधरत्विषा॥
| स्वगुणत्यागात् by quitting one’s own quality | नासामौक्तिकम् nose-pearl |
| अन्यदीयगुणग्रहः assuming the qualityof another | अधरत्विषा by the lustre of the lower lip. |
| तद्गुणः the Borrower | पद्मरागायते becomes Padmarāga(ruby of lotus colour). |
| ते thy |
Def. When a thing quits its own quality and assumes that of another (excellent one), it is the Borrower.
Ex. O Lady! The pearl of the nose-ornament becomes a padmarāga ruby by coming in contact with the luster of thy (red) lower lip.
Here, the colour of the lady’s lower lip, being superior, makes the white pearl of her nose ornament appear like a padmarāga ruby.*4
LXXVI. **पूर्वरूपम्—**The Original.
DEF
. पुनः स्वगुणसंप्राप्तिः पूर्वरूपमुदाहृतम्।
Ex
. हरकण्ठांशुलिप्तोऽपि शेषस्त्वद्यशसा सितः॥
[TABLE]
Def. When an object that has quitted its form as in the preceding figure is again restored to its original state by the presence of some other agency, it is called the Original.
Ex. O king! The lord of the serpents शेषः, though covered with the lustre of Siva’s neck, is made white by thy fame.
Here, the serpent-lord worn round Siva’s neck of dark-blue colour—on account of the existence of the Kālakūta poison in it—changed his colour and thus became a borrower and by the operation of another agency—the white fame of the king—he is restored to his former state.
Second kind of the Original.
DEF
. पूर्वावस्थानुवृत्तिश्च विकृते सति वस्तुनि।
Ex
. दीपे निर्वापितेऽप्यासीत्कांचीरत्नैर्महन्महः॥
| वस्तुनि an object | निर्वापिते अपि though extinguished |
| विकृते सति when disappeared | कांचीरत्नैः by the jems inlaid in the girdle of a lady |
| पूर्वावस्थानुबृत्तिः continuity of the original state | महत् ample |
| च also | महः light |
| दीपे lamp | आसीत् was. |
Def. The continuity of the original condition, notwithstanding the disappearance of an object—the cause of such continuance, by the operation of another agency, is called the second kind of the Original.
Ex. Although the lamp was put out (by a lady in the bed chamber), still there was ample light issuing from the jems of the girdle (of that lady).
Here, a pretty young maiden but an artless one (मुग्धा) put out the lamp of the bed chamber through bashfulness; still the light continued as before by the lustre of the jems inlaid in the girdle of that maiden.
LXXVII. **अतद्गुणः—**The Non-Borrower.
DEF.
संगतान्यगुणानंगीकारमाहुरतद्गुणम्।
Ex.
चिरंरागिणि मच्चित्ते निहितोऽपि न रञ्जसि॥
| संगतान्यगुणानंमीकारम् non-assumingthe quality of another object though connected with it | चिरम् for a long time |
| अतद्गुणम् Non-Borrower | रागिणि red (affectionate) |
| आहः call | मच्चित्ते in my mind |
| निहितोऽपि though seated | |
| न रञ्जसि dost not become red(affectionate). |
Def. The non-assuming, by an object, of the quality of another though connected with it (or in
other words, when an object does not borrow the quality of another object, it) is called the Non-
Borrower.
Ex. O Lover! though seated long in my red (affectionate) mind, yet thou dost not become red
(affectionate).
The strikingness of this example rests upon the use of the wordराग which means both redness and affection.
Here, the lover does not become red (affectionate) though he is seated in the red (more affectionate) mind of the lady. Hence it is the Non-Borrower.
LXXVIII. **अनुगुणः—**The Conformity.
DEF.
प्राक्सिद्धस्वगुणोत्कर्षोऽनुगुणः परसन्निधेः।
Ex.
नीलोत्पलानि दधते कटाक्षैरतिनीलताम्॥
| परसन्निधेः by the presence of another object | अनुगुणः the Conformity |
| प्राक्सिद्धस्वगुणोत्कर्षः the pre-eminence of one’s ownpreviously settled quality. | नीलोत्पलानि blue lotuses |
| कटाक्षैः by the side-glances | |
| अतिनीलताम् extreme blueness | |
| दधते bear. |
Def. The pre-eminence, of one’s own previously settled quality, by the presence of another agency, (or, in other words, when the original quality of an object is made pre-eminent by the proximity of another object, it) is called the Conformity.
Ex. The blue lotuses attain more blueness by the side-glances (of a lady falling on them).
Here, the dark blue lustre of the lotuses is increased by the pre-eminent blue side-glances of the lady falling on them.
LXXIX. **मीलितम्—**The Lost.
DEF.
मीलितं यदि सादृश्याद्भेद एव न लक्ष्यते।
Ex
. रसो नालक्षि लाक्षायाश्चरणे सहजारुणे॥
| यदि if | मीलितम् the Lost |
| सादृश्यात् on account of resem blance | सहजारुणे naturally red |
| भेदः a distinction | चरणेin the foot |
| एव alone | लाक्षायाः of the red lac |
| न लक्ष्यते is not perceived | रसः dye |
| न अलक्षि was not perceived. |
Def. When distinction alone is not perceived (between two objects on hand) on account of their resemblance, then it is the Lost.
Ex. The dye of the red lac was not perceived in the naturally red feet (of this beautiful maiden).
Here, we see the disappearance of the dye of the red lac on account of its having been eclipsed by the natural redness of the maiden’s feet.
LXXX. **सामान्यम्—**The Sameness.
DEF.
सामान्यं यदि सादृश्याद्विशेषो नैव लक्ष्यते।
Ex.
पद्माकरप्रविष्टानां मुखं नालक्षि सुभ्रुवाम्॥
| यदि if | पद्माकरप्रविष्टानाम् that entered the lotus-pool |
| सादृश्यात् on account of resemblance | सुभ्रुवाम् of women of beautiful eye-brows |
| विशेषः distinguishable peculiarity | मुखम् face |
| नैव लक्ष्यते is not at all perceived | न अलक्षि was not perceived. |
| सामान्यम् The Sameness |
Def. When any distinguishable peculiarity whatever is not perceived (between two objects coming in contact) on account of their close resemblance, it is called the Sameness.
Ex. The faces of the women of beautiful eyebrows that entered the lotus-pool are not perceived.
Here, the faces of the women were not distinguishable from the lotuses in the absence of any discriminative quality between the two which are spoken of as having become identical.
In the मीलित (LXXIX), one of the objects is inferior in quality and is not apprehended by its being eclipsed by the superior quality of the other.
In this figure, the two objects could not be discriminated through their close resemblance. In the मीलित, the inferior object gives up its own quality. Here both the objects do not give up their qualities. Hence, this figure is different from the मीलित.
LXXXI. **उन्मीलितम्—**The Un-Lost.
LXXXII. **विशेषकः—**The Un-Sameness.
DEF.
भेदवैशिष्ट्ययोःस्फूर्तावुन्मीलितविशेषकौ।
Ex.
हिमाद्रिं त्वद्यशोमग्नं सुराः शीतेन जानते॥
| भेदवैशिष्ट्ययोः of any distinction and of any discriminating peculiarity | सुराः the celestial beings |
| स्फूर्ती in the manifestation | त्वद्यशीमग्नम् eclipsed by thy fame |
| उन्मीलित, विशेषकौ The Un-Lost and The Un-Sameness | हिमाद्रिम् the Himālaya mountain |
| शीतेन by chillness | |
| जानते recognize. |
Def. If any distinction prohibited in the fa मीलित (LXXIX) become manifest afterwards, it is called the उन्मीलितम्.
Def. If any discriminating peculiarity prohibited in the सामान्य become manifest afterwards, it is called the विशेषकः.
Ex. O king ! The celestial beings recognize the Himālaya mountain, eclipsed by thy (all-pervading) fame, through its chillness.
This is the example of the figure उन्मीलित. Here,the Himālaya which is white was lost in the whiter fame of the king and was afterwards recognized by the Gods on account of its chillness.
Example of the विशेषक*.*
लक्षितान्युदिते चन्द्रे पद्मानि च मुखानि च।
[TABLE]
Ex. After the rise of the moon, the lotuses and the faces of the damsels became distinguishable.
In the सामान्य, the faces of the damsels that entered the lotus-pool were undistinguishable from the
lotuses on account of their likeness but after the rise of the moon the lotuses faded and the faces began to appear more beautiful and hence they became discriminated.
LXXXIII.**उत्तरम्—**The Reply.
DEF.
किंचिदाकूतसहितं स्याद्गूढ़ोत्तरमुत्तरम्।
Ex.
यत्रासौ वेतसी पान्थ ! तत्रेयं सुतरा सरित्॥
| किंचिदाकूतसहितम् containing some import | यत्र where |
| गूढ़ोतरम् a secret reply | असौ वेतसी that ratan |
| उत्तरं स्यात् is The Reply | तव there |
| पान्थ ! O traveller! | इयं सरित् this river |
| सुतरा is fordable. |
Def. A secret reply containing some indirect import (of the speaker) is called the Reply. Or, in other words, when the speaker indirectly expresses his or her own intention in a reply made to a query previously put by some person (which query is to be inferred from the answer), it is called the Reply.
Ex. O Traveller ! (the place) where that ratan is seen—there this river is fordable.
From this, we understand that a traveller has asked the speaker, a lady here, the place where a particular river can be crossed. The lady becoming enamoured of him makes this reply by showing a particular place which was also indirectly named by her as a place of assignation for their meeting.
Second kind of the Reply.
DEF.
प्रश्नोत्तरान्तराभिन्नमुत्तरं चित्रमुच्यते।
Ex.
के दारपोषणरताः के खेटाः किं चलं वयः॥
| प्रश्न + उत्तरान्तर + अभिन्नम् consisting of same words of thequery and its two replies | केदारपोषणरताः those that are bent upon bringing the lands to perfection= husbandmen |
| चित्रमुत्तरम् a skilful Reply | के खेटाः who move in the air |
| उत्तरम् The Reply | किं चलम् which is transitory |
| के who | वयः (1) birds (2) the age. |
| दारपोषणरताः those that are engaged in maintaining their wives |
Def. When a skilful reply is not different from the query, or in other words, when a reply made
consists of the same words of the question asked, and when one reply made serves for two queries asked, then it is called also the Reply.
Ex. Q. Who are those that are engaged in maintaining their wives?—R. Those that are bent
upon bringing the lands to perfection or husbandmen. Q. Who move in the air and which is transitory—R. वयः(1) birds (2) age.
केदारः= a field. The first question के दारपोषणरताःand its answer केदारपोषणरताःconsist of the same words (lit. letters). वयःis the one reply made to the two questions asked. वयःwhen it means, ‘birds’ is the nominative plural of the word वि m; and when it means ’the age’ it is the nominative singular of the neuter noun.वयस्. Hence these are styled the skilful replies.
LXXXIV. **सूक्ष्मम्—**The Subtle.
DEF. सूक्ष्मं पराशयाभिज्ञेतरसाकूतचेष्टितम्।
Ex. मयि पश्यति सा केशैः सीमन्तमणिमावृणीत्॥
| परा—चेष्टितम् = पराशयाभिज्ञः skilledin understanding the import of another | सूक्ष्मम् The Subtle |
| इतरः a second person | सा that (maiden) |
| तस्य his | मयि पश्यति when I was looking |
| साकूतचेष्टितम् a significant act | केशैः by the tresses |
| सीमन्तमणिम् the crest-jewel | |
| आवृणीत् concealed. |
Def. A significant act or gesture, of a person, intimated to another who is able to understand such gestures of others is called the Subtle.
Ex. (Friend !) When I was seeing (her anxiously for time of assignation), she concealed her crestjewel under her tresses.
Here, the time of assignation eagerly inquired for by the lover is guessed from the lady’s act of concealing her bright crest-jewel under her dark tresses—a mark indicating the time of night when the bright sun is concealed under the darkness of the night.
LXXXV. **पिहितम्—**The Covering.
DEF.
पिहितं परवृत्तांतज्ञातुः साकूतचेष्टितम्।
Ex.
प्रिये गृहागते प्रातः कान्ता तल्पमकल्पयत्॥
| परवृत्तान्तज्ञातुः of one that knows the secret of the other | साकूतचेष्टितम् significant act or an insinuation |
| पिहितम् The Covering |
| प्रातः in the morning | कान्ता the lady |
| प्रिये गृहागते when the lover came to the house | तल्पम् the bed |
| अकल्पयत् prepared. |
Def. A significant act or an insinuation of a person that he or she knows the secret of another is called The Covering.
Ex. Early in the morning, when the lover came to the house, his lady prepared bed (for him).
Here, a lady when she saw her husband coming to her house in the morning with the marks of his having toyed with another lady, a rival one, at once prepared bed for his rest thus intimating to him that she has known his secrets.
LXXXVI. **व्याजोक्तिः—**The Disembler.
DEF.
व्याजोक्तिरन्यहेतूक्त्या यदाकारस्य गोपनम्।
Ex.
सखि ! पश्य गृहारामपरागैरस्मि धूसरा॥
| अन्यहेतूक्त्या by an attribution to a different cause | सखि ! friend ! |
| यत् which | पश्य see |
| आकारस्व of the appearance | गृहारामपरागैः by the pollens of the house-garden |
| गोपनम् concealment | धूसरा अस्मि I am made greyish. |
| व्याजोक्तिः The Disembler |
Def. The Disembler is the dissimulation of one’s appearance by attributing to a different cause.
Ex. Friend ! See I am made greyish by the pollens of (my) house-garden.
Here, a lady, the speaker, having her body made dirty by the dust in her toying with with her lover, artfully
conceals the same by saying that she was made greyish by the pollens, i.e., by attributing it to some different cause. Her first state was not expressed and then denied and so this is different from the ornament of Concealment (XI) where an object is first mentioned by a person who then conceals it.
LXXXVII. **गूढ़ोक्तिः—**The Secrecy.
DEF.
गुढ़ोक्तिरन्योद्देश्यं चेद्यदन्यं प्रति कथ्यते।
Ex.
वृषापेहि परक्षेत्रादायाति क्षेत्ररक्षकः॥
| चेद् if | परक्षेत्रात् from another’s field or wife |
| अन्योद्देश्यम् intended for another | अपेहि begone |
| अन्यम् प्रति to another | क्षेत्ररक्षकः the land-lord or husband |
| कथ्यते is told | आयाति comes. |
| गूढ़ोक्तिः The Secrecy | |
| वृष ! O bull ! or luster ! |
Def. When a speech intended to be communicated to a particular person is addressed to another who is also before the speaker, and when that speech conveys also the intended meaning of the speaker, it is termed the Secret Speech.
Ex. O bull begone, yonder comes the landlord.
This speech is intended to be communicated to a person toying with the wife of another person and this is addressed to the bull that was grazing in a third man’s field. The intended meaning to be conveyed is :—
O Luster! begone, yonder comes the husband of the lady with whom thou art boldly toying.
LXXXVIII. **विवृतोक्तिः—**Open Speech.
DEF.
विवृतोक्तिः श्लिष्टगुप्तं कविनाऽविष्कृतं यदि।
Ex.
वृषापेहि परक्षेत्रादिति वक्ति ससूचनम्॥
[TABLE]
Def. Open Speech is that which is hidden under a pun as in the preceding figure but purposely expressed by the poet by some kind of indication.
Ex. “O bull! begone from another’s field", so the speaker speaks with a gesticulation.
By use of the word वृषापेहि, this is also hidden under a pun; and, by the employment of the word ससूचनम्, in the example by the poet, the secrecy becomes expressed.
LXXXIX. **युक्तिः—**Covert Speech.
DEF.
युक्तिः परातिसंधानं क्रियया मर्मगुप्तये।
Ex.
त्वामालिखन्ती दृष्ट्वान्यं धनुःपौष्यं करेऽलिखत्॥
| मर्मगुप्तये for concealment of one’s own desing | त्वाम् thee |
| क्रियया by an act | आलिखन्ती painting |
| परातिसंधानम् deception played upon another | अन्यं दृष्ट्वा seeing another (lady) |
| युक्तिः Covert Speech | पौष्पं धनुः flowery bow |
| करे in the hand | |
| अलिखत् drew |
Def. Covert Speech is a deception of a person by an act played upon another for concealment of his or her own design.
Ex. Lover! Thy lady painted thee and, seeing another person coming to her at that time, drew the figure of a flowery bow in the hand, thus intimating to that stranger that she painted the cupid and not thee.
This is said by a go-between.
This figure is properly reckoned as one of the kinds of सूक्ष्म (LXXXIV) in the Sāhitya Darpaṇa.
XC. **लोकोक्तिः—**Popular Saying.
DEF.
लोकप्रवादानुकृतिर्लोकोक्तिरिति भण्यते।
Ex.
सहस्व कतिचिन्मासान्मीलयित्वा विलोचने॥
[TABLE]
Def. An expression resembling a proverb is called the Popular Saying.
Ex. Lady ! wait for a few months with thy eyes closed.
This is one of the messages sent by a separated lover to his lovely wife. The full meaning is:—
“Lady! Let a few months be spent unmarked by thee; and then we shall both meet, and have full scope to reward our desires entertained in our separation.“With thy eyes closed” is even now more current in the sphere of the lovers and distressed people.
XCI. **छेकोक्तिः—**The Skilful Speech,
DEF.
छेकोक्तिर्यदि लोकोक्तेः स्यादर्थान्तरगर्भिता।
Ex.
भुजङ्ग एव जानीते भुजङ्गचरणं सखे॥
| लोकोक्तेः of the Popular Saying | भुजंगः एव only the serpent or villain |
| अर्थान्तरगर्भिता containing another sense | भुजंगचरणम् the feet of the serpent or the behaviourof a villain |
| यदि स्यात् if | जानीते knows. |
| छेकोक्तिः Skilful Speech | |
| सखे ! friend ! |
Def. If the Popular Saying were to contain another sense, then it is called the Skilful Speech.
Ex. A serpent alone knows the feet of a serpent.
Another sense is—A villain alone knows the behaviour of a villain.
XCII. **वक्रोक्तिः—**The Crooked Speech.
DEF.
वक्रोक्तिः श्लेषकाकुभ्यामपरार्थप्रकल्पनम्॥
Ex
. मुञ्च मानं दिनं प्राप्तं नेह नन्दी हरान्तिके॥
| श्लेषकाकुभ्याम् by means of a pun or by an affected change of voice | मुञ्च मानम् remove thy anger |
| अपरार्थ प्रकल्पनम् construing one’s speech differently | दिनं प्राप्तम् day appeared |
| वक्रोक्तिः The Crooked Speech | इह here |
| नन्दी न no Nandin | |
| हरान्तिके near the God Śiva. |
Def. when a person construes a speech of another in a different sense by means of a pun or by an affected change of voice, it is called the Crooked Speech.
Ex. Lady ! Remove thy anger as day has appeared.
Here the lady construing it otherwise by a division of words मानं दिनम् into मा नन्दिनम् and reading it thus “मुञ्च मा नन्दिनं प्राप्तम् = leavest not the Nandin that has arrived here” angrily replies thus, “No Nandin here; but he is near the God Sīva.”
For an example under काकु , see the Appendix.
XCIII. स्वभावोक्तिः— Description of Nature.
DEF. स्वभावोक्तिः स्वभावस्य जात्यादिस्थस्य वर्णनम्।
** **Ex. कुरङ्गैरुत्तरङ्गाक्षैः स्तब्धकर्णैरुदीक्ष्यते॥
[TABLE]
Def. Description of Nature is the delineation of of a peculiar state of an object belonging to a genus etc., i.e., a quality, an action and a substance.
Ex. These antelopes having tremulous eyes and pricking up their ears behold!
As the term ‘antelopes’ denotes many, we have here the description of nature of a genus.
Another name of this figure is जातिःaccording to Dandī. This kind of description is considered the best by the poets.
XCIV. **भाविकम्—**The Vision.
DEF.
भाविकं भूतभाव्यर्थसाक्षात्कारस्य वर्णनम्।
Ex.
अहं विलोकयेऽद्यापि युध्यन्तेऽत्र सुरासुराः॥
| भूत भावि अर्थ साक्षात्कारस्य of perception of things past orfuture | सुरासुराः the gods and demons |
| वर्णनम् description | युध्यन्ते fight |
| भाविकम् The Vision | अहम् I |
| अत्र in this place | अद्यापि even now |
| विलोकये behold. |
Def. When something past or future is delineated by a poet in such a manner as can bring the subject of description vividly before the mind’s eye, it is called the Vision.
Ex. The gods and demons fight in this place—even now I seem to behold it!
XCV. **उदात्तम्—**The Exalted.
DEF.
उदात्तमृद्धेश्वरितं श्लाघ्यं चान्योपलक्षणम्।
Ex
. सानौ यस्याभवद्युद्धं तद्धूर्जटिकिरीटिनोः॥
| ऋद्धेः of prosperity | यस्य of which (himālaya mountain) |
| चरितम् description | सानौ in the summit |
| उदात्तम् The Exalted | तत् that=celebrated |
| च also | धूर्जटिकिरीटिनोः between God Śiva and Arjuna |
| श्लाघ्यम् commendable action | युद्धम् fight |
| अन्यस्य of another | अभवत् took place. |
| उपलक्षणम् indirect representation of importance |
Def. A description of prosperity of an object is termed the Exalted.
And any commendable action of some great personage represented indirectly or collaterally to the object under delineation is termed also the Exalted..
Ex. This is that Himālaya Mountain in whose summit that celebrated fight between the God Siva and Arjuna took place.
Here, the celebrated fight of the great God Siva with Arjuna is represented collaterally to the Himālaya Mountain—the object under delineation. This kind of representation attaches much importance to the subject on hand—now the Himalaya Mountain.
For an example of Prosperity, see the Appendix.
XCVI. **अत्युक्तिः—**The Exaggeration.
DEF
. अत्युक्तिरद्भुतातथ्यशौर्यौदार्यादि वर्णनम्।
Ex
.त्वयि दातरि राजेन्द्र ! याचकाः कल्पशाखिनः॥
[TABLE]
Def. A description of marvellous and also false statement of one’s valour, generosity, etc., is called the Exaggeration.
Ex. O king! When thou art a donor, even
t
he wish-yielding (kalpa) trees of paradise become thy mendicants.
This is a false exaggeration of a king’s liberal munificence.
VII**. निरुक्तिः—**Exposition.
DEF.
निरुक्तिर्योगतो नाम्नामन्यार्थत्वप्रकल्पनम्।
Ex.
ईदृशैश्चरितैर्जाने सत्यं दोषाकरो भवान्॥
| नाम्नाम् of words | ईदृशैः these |
| योगतः by derivation | चरितैः by acts of thine |
| अन्यर्थत्वप्रकल्पनम् construing in asense different from what is intended | भवान् thy honour |
| निरुक्तिः Exposition | दोषाकरः *maker of night or whatfaulty |
| (चन्द्र ! O moon !) | सत्यम् verily |
| जाने I know |
Def. Exposition consists in construing words, in sensedifferent from what is intended, by an artificial derivation of those words.
Ex O Moon ! By these acts of thine, I know, truly, as much that thou art faulty (lit. the mine of faults).
This is addressed to the moon by a damsel pining under separation.
XCVIII. **प्रतिषेधः—**Prohibition.
DEF. प्रतिषेधः प्रसिद्धस्य निषेधस्यानुकीर्तनम्।
** **Ex. न द्यूतमेतत् कितव ! क्रीड़नं निशितैः शरैः॥
| प्रसिद्धस्य well-known | एतत् द्यूतम् न this is not the playing at dice |
| निषेधस्य of prevention | निशितैः शरैः by sharpened arrows |
| अनुकीर्तनम् announcement | क्रीड़नम् playing. |
| प्रतिषेधः Prohibition | |
| कितव ! gambler ! |
_______________________________________________________________
* दोषाम् night करोति does = moon and दोषाणाम् of faults आकरः mine = a mine of faults.
Def. Prohibition is the announcement of prevention of a well-known act.
Ex. O Gambler Sakuni ! This is not the playing at dice but this is the playing by sharpened arrows (the famous battle of Kurukshetra).
This is addressed by a true warrior to Sakuni, the uncle of Duryodhana, who at the celebrated gambling match threw the dice, won the and obliged the good Pāndavas to go into exile and thus became the cause of that dreadful war. The statement that this is not the place of gambling but of war—an expression of a true fact—conveys the intended meaning of the speaker that Sakuni could do well at the gambling and not at this battlefield.
XCIX. विधिः—Fitness.
DEF.
सिद्धस्यैव विधानं यत्तदाहुर्विध्यलंकृतिम्।
Ex.
पंचमोदंचने काले कोकिलः कोकिलो भवेत्॥
| यत् which | पञ्चम + उदञ्चने काले in the spring season5 |
| सिद्धस्य एव of that thing previously effected | कोकिलः kokila bird or the Indian cuckoo |
| विधानम् declaration | कोकिलः kokila, i.e., charming |
| तत् that | भवेत् shall become. |
| विधि + अलंकृतिम् the figure Fitness | |
| आहुः the learned call |
Def. A declaration of a thing previously effected, the learned call as the figure Fitness.
Ex. Only in the spring season, the kokila bird shall become a kokila, i.e., charming.
Here, the re-declaration of kokila bird, a thing already effected, is to show its extreme charmingness in the spring season—a season for singing in the panchama tone.
C.**हेतुः—**The Cause.
DEF. हेतोर्हेतुमता सार्धं वर्णनं हेतुरुच्यते।
** **Ex. असावुदेति शीतांशुर्मानच्छेदाय सुभ्रुवाम्॥
| हेतोः of a cause | असौ शीतांशुः that moon |
| हेतुमता सार्धम् along with its effect | सुभ्रुवान् of women of beautiful eye-brows |
| वर्णनम् description | मानच्छेदाय for quelling the pride |
| हेतुः The Cause | उदेति rises. |
| उच्यते is termed |
Def. The description of a cause along with its intended effect is termed the Cause.
Ex. That moon rises for quelling the pride of women of beautiful eye-brows.
Second sort of हेतुः.
DEF. हेतुहेतुमतोरैक्यं हेतु केचित् प्रचक्षते।
** **Ex. लक्ष्मीविलासा विदुषां कटाक्षा वेंकटप्रभोः॥
| हेतुहेतुमतोः of cause and effect | केचित् certain rhetoricians |
| ऐक्यम् identity | हेतुम् as the figure reason |
| प्रचक्षते call | कटाक्षाः glances |
| वेङ्कटप्रभोः of the Lord of the mount venkaṭa6 | विदुषाम् of learned poet |
| लक्ष्मीविलासाः graces of the goddess of fortune. |
Def. The identity of a cause with its effect is reckoned by some as the figure the Cause.
Ex. The glances of the God Vishṇu* (lit. the Lord of the Mount Venkaṭa) are the graces of the Goddess of Furtune to the learned.
Here, the glance, the cause, is mentioned as identical with its effect, the graces of the Goddess of Fortune. This representation rests on the complete identification and indicates the speedy simultaneous effect.
इत्थं शतमलंकारा लक्षयित्वा निदर्शिताः।
प्राचामाधुनिकानां च मतान्यालोच्य सर्वशः॥
These one hundred figures of speech have been thus defined and exemplified (by the author) after having studied all the dogmas of the rhetoricians, ancient as well as modern.
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APPENDIX.
S. D. denotes Sāhityadarpaṇa of Visvanātha Kavirāja, and its English Translation.
K. P. " Kāvyaprakāsa of Mammaṭa.
R. G." Rasagangadhara of Paṇḍita Jagannātha
D. K. " Daṇdī’s Kāvyādarsa.
P. A. " Pāṇini’s Ashṭādhyāyī by Mr. S. C. Vāsu.
Poetical Conventions.
The student should know first some of the conventions of poets to understand this as well as other works better.
The sky, sin, sorrow, sea, clouds, serpents, infamy, etc., are described as black; fame, laughter, renown,virtue, umbrella, water, flower, cloth, etc., as white; anger, love, sun, learning, etc., as red; valour as red and hot. Lotuses, lilies, etc., can be described as growing in all the rivers, seas and in small tanks. Flamingoes and other birds are said to haunt in all receptacles of water. Water-elephants live in celestial Ganges too. Gems and the fish ‘makara’ are found in oceans; pearls in the river Tāmraparṇī only. Bhūrja trees grow in the Himālaya alone; Sandal trees grow only in the Malaya Mountain and bear no flowers and fruits. Asoka does not fructify. Lotuses bloom only in the day; lilies only in the night. Mālatī does not bloom in the spring. The Indian cuckoos utter sweet notes only in the spring season. The cries and dances of peacocks and the emigration of the flamingoes to the Mānasa Lake occur only in the rainy season. The chakora
birds are said to drink the moonlight. chakravāka birds always move in couple; and the couple occupying the opposite banks of a river never see each other during the whole night. The God of love bears a flowery bow with only five flowery shafts and his bow-string is strung with bees. There is moonlight throughout the bright fortnight; and darkness throughout the black fortnight. The description of the setting sun must be followed by that of the rising moon. Separated lovers are affected at the sight of the clouds and feel the moonlight and the Malaya breeze as fire and also suffer very much from love fever. The moon on the crest of God Siva is always described as young. The description of men must be from head to foot and, in case of Gods, from foot to head.
**1.उपमा —**Simile.
Words expressive of comparison.
इव वद् वा यथा (शब्दाः) समान-निभ-सन्निभाः।
तुल्य-सङ्काश-नीकाश-प्रकाश-प्रतिरूपकाः॥
प्रतिपक्ष-प्रतिद्वन्द्वि-प्रत्यनीक-विरोधिनः।
सट्टक् सदृश-संवादि-सजातीयाऽनुवादिनः॥
प्रतिबिंब-प्रतिच्छन्द-संरूप-सम-सम्मिताः।
सलक्षण-सट्टक्षाऽऽभ-सपक्षोपमितोपमाः॥
कल्प-देशीय देश्या (ऽऽदि) प्रख्य-प्रतिनिधी (अपि)।
सवर्ण-तुलितौ (शब्दै ये चान्यूनार्थवादिनः)॥
D. K.
Of these, वत्, कल्प, देश्य, देशीय are taddhita terminations. The last three express a slight incomplete comparison. See V. 3. 67 P. A.
Other terminations expressive of comparison.
** क्यच् (य)** a denominative termination—Parasmaipada.
** उपमानादाचारे** (III. 1. 10). The affix क्यच् is optionally employed, in the sense of treatment, after a word ending in a case-affix denoting the object of comparison. Thus, पुत्रमिवाचरति छात्रम् = पुत्रीयति छात्रम्=he treats the pupil as a son P. A.
** क्यङ् (य)** denominative termination-Ātmanepada.
** कर्तुः क्यङ् सलोपश्च** (III. 1. 11). The affix क्यङ् is optionally employed in the sense of behaving, after a word ending in a case-affix denoting the object of comparison of the agent and there is elision of the final स् of the noun if it ends with a स्. Thus, श्येना इव आचरति काकः = श्येनायते काकः = the crow behaves like a hawk. P. A.
** क्विप्**(nil) a krit termination which is usually omitted.
The affix क्विप् comes optionally in the sense of behaving like some one after all crude nouns (Vārtika of III. I. 11). Thus, गर्दभति or गर्दभायते = he behaves like an ass or he asses. P. A.
कन् a taddhitātermination.
** लुम्मनुष्ये** (V. 3. 98). When a man is denoted, the affix कन् expressing comparison is elided, the word
retaining its number and gender. Thus चञ्चा (चञ्चा इव पुरुषः) a straw-man, i.e., an effigy in straw. P. A.
णिनि (णिन्) * a krit termination.*
** कर्तर्युपमाने** (III. 2. 79). The affix णिनि comes after a verb when it is in composition with a word denoting an object of comparison, expressing the agent, the sense of the affix being ‘doing something like that’. Thus, उष्ट्रक्रोशिन् =‘He who makes a noise like a camel’. P. A.
णमुल् the gerundial affix in अम्.
** उपमाने कर्मणि च** (III. 4. 45 ). The affix णमुल् comes after a root, when an object or an agent, denoting similitude, is in composition with it. Thus, **घृतनिधायं निहितं जलम् =‘**water was kept as ghee was kept’. P. A.
छ (ईय) a taddhita termination.
** समासाच्च तद्विषयात्** (V. 3. 106) is fully explained in pages 7 to 10 of the text.
After carefully studying the above, the student should try to understand the following 32 varieties of the Figure उपमा according to S. D., K. P. and R. S. Of the ornaments of sense, उपमा forms the essence of all the figures that are founded on similarity and therefore its complete study becomes essential.
- Observe*. उपमा is first two-fold पूर्णा ‘complete’ and लुप्ता ’elliptical’. These again are श्रौती direct when the comparison is expressed by the employment of such words as यथा, इव, वा or वत् all in the sense of English ‘as’; and आर्थी indirect when the comparison is
expressed by the use of the words तुल्य, समान, etc., all in the sense of English ’like ‘श्रौती conveys the notion of similarity at the very hearing आर्थी is to be understood only through the meaning ofthe expression. These two kinds are again three-fold as they occur in a sentence (वाक्यगता ), in a compound (समासगता) and in a nominal affix ( तद्धितगता). Thus, there are 6 varieties of पूर्णा ; and but of लुप्ता, there are 26 varieties.
पूर्णा – 6 varieties.
[TABLE]
**लुप्ता —**26 varieties.
[TABLE]
| 16 धर्मलुप्ता — श्रौती— वाक्यगता. |
| 17do.—आर्थी—do. |
| 18do.—श्रौती — समासगता. |
| 19do.—आर्थी—do |
| 20do.— ॥ तद्धितगता. |
________________________________________________________
* Referring to कर्म = object in the accusative case.
† Referring to a locality. † In the passive sense.
¶In the active sense.
\।\। No श्रौती —तद्धितगता.
21 धर्मवाचकलुप्ता —क्विप् -गता.
22 Do.—समासगता.
23 वाचकोपमेयलुप्ता —क्यच्-गता.
24 वाचकोपमानधर्मलुप्ता —समासगता.
25 वाचकोपमानलुप्ता —do.
26 उपमानलुप्ता—छ—प्रत्यय-गता.
27 Do. —वाक्यगता.
28 Do. —समासगता.
29 उपमानधर्मलुप्ता —वाक्यगता.
30 Do. —समासगता.
31 उपमेयलुप्ता—क्यच्—गता.
32 उपमेयधर्मलुप्ता —do.
Examples in their order.
1 to 3
श्रौती
सोरभमम्भोरुहवन् मुखस्य कुम्भाविव स्तनौपीनौ।
हृदयं मदयति वदनं तव शरदिन्दुर्यथा बाले॥
S. D.
O young maiden! the fragrance of thy mouth is as the lotus; thy bosoms are large as jars; thy face exhilerates (my) heart as the autumnal moon.
4 to 6
आर्थी
मधुरः सुधावदधरः पल्लवतुख्योऽतिपेलवः पाणिः।
चकितमृगलोचनाभ्यां सदृशी चपले च लोचने तस्याः॥
S. D.
The lower-lip of that lady is sweet like nectar; her hand is exceedingly tender like a young leaf; and her eyes are tremulous like those of a frightened fawn.
7to 15
वाचकलुप्ता
दरदलदरविन्दसुन्दरे हा हरिणदृशो नयने न विस्मरामि॥
R.S.
Alas! I will not forget the eyes of my fawn-eyed lady beautiful like slightly expanded lotuses.
मलयानिलमनलीयति मणिभवने काननीयति क्षणतः।
विरहेण विकलहृदया निर्जलमीनायते महिला॥
R.G.
That lady devoid of heart through pining in separation feels the Malaya breeze as fire itself; herself, residing in a jewelled mansion, thinks in a moment as if she is in a desert; and she is troubled like a fish out of water.
Here, in अनलीयति = अनलमिवाचरति, we have अनलम् in the accusative case because the मलयानिलम्, the upameya, is also in the accusative case.* Hence it is कर्म-क्यच् . In काननीयति = कानने इव आचरति, we haveकानन in the locative case and it is therfore आधार क्यच्. In निर्जलमीनायते - निर्जल - मीनवत् आचरति, we have क्यङ्.
निरपायं सुधापायं पयस्तव पिबन्ति ये।
जह्नुजे ! निर्जरावासं वसन्ति भुवि ते नराः॥
R.G.
** **O Jahnu’s daughter ( Gangā ) ! Those people who drink thyharmless water resembling the nectar—they all live in like immortal beings.
Here, in सुधापायम् = सुधामिव पीत्वा, we have सुधा in the accusative case ; and hence it is कर्म- णमुल् of root पा ’to drink’. In निर्जरावासम् - निर्जराः इव उषित्वा, we have निर्जराः in the nominative case like its upameya नराः and hence it is कर्तृ- णमुल् of root वस् ’to dwell’.
_____________________________________________________________
* The words connected by इव (or its equivalent) must be in the same case. Apte’s Guide. 257 Observe.
13
कोकिलालापिनी ह्येषा
This maiden speaks like an Indian cuckoo.
14
चञ्चापुरुषः सोऽयं योऽत्यन्तं विषयवासनाधीनः॥
R. G.
He that is wholly addicted to sensual pleasures is a straw-like man.
15
गर्दभति श्रुतिपरुषं व्यक्तां निनदन् महात्मनां पुरतः॥
**S. D.
**
He pratling loudly and harshly before the great behaves like an ass.
16 to 20
धर्मलुप्ताः
मुखमिन्दुर्यथा, पाणिःपल्लवेन समः प्रिये।
वाचः सुधा इवोष्ठस्ते बिंबतुल्यो मनोऽश्मवत्॥
S. D.
O beloved! thy face is as the moon; thy hand is like a sprout ; thy speeches areas nectar; thy lip (lower) is as the bimba fruit ; and thy heart is like the stone.
21 & 22
धर्मं वाचकलुप्तौ
विधवति मुखान्नमस्याः
S.D.
The lotus-like-face of this lady acts like the moon.
In विधवति = विधुरिवाचरति, we have the omission of and the common attribute ‘charmingness’ in the क्विप् affix. In मुखाब्जम् = मुखम् अब्जमिव, we have the same in a compound.** **
23
वाचकोपमेय-
लुप्ता
and
** 24
**
उपमानवाचक-
धर्मलुप्ता
**तया तिलोत्तमीयन्त्या मृगशावकचक्षुषा। **
ममायं मानुषो लोको नाकलोक इवाभवत्॥
R. S.
This mortal world has become a celestial one to me being in company with this lady who has eyes tremulous like those of young deer and who thinks herself like Tilottamā.
In तिलोत्तमीयन्त्या = तिलोत्तमामिव आत्मानं आचारन्त्या, we have the omission of the upameya आत्मानम् and of the word ‘इव’ expressive of comparison. मृगशावकचक्षुषा= मृगशावकस्य चक्षुषी इव चञ्चले चक्षुषी यस्याः तया, we have the omission of the upamāna **‘चक्षुषी ‘**of the word ‘इव’, expressing comparison and of the common attribute चञ्चले.
25
वाचकोपमान-
लुप्ता
26 to 28
उपमानलुप्ताः
यच्चीराणामस्य च समागमो यच्च तैर्वधोऽस्य कृतः।
लुप्ताउपनतमेतदकस्मादासीत्तत्काकतालीयम्॥
R. S.
The meeting of that man with the robbers and the killing of that man by the robbers—each has occurred accidentally like the maxim of the crow and the palm fruit.
Here in काकतालम्, we have the omission of the upamāna ‘समागमःand the word ‘इव’ expressing comparison in a compound. In काकतालीयम्, we have the omission of the upamāna ‘मरण’ in a compound with छ-प्रत्यय which expresses comparison. See pages
7 to 12.
त स्या मुखेन सदृशं रम्यं नास्ते न वा नयनतुल्यम्।
S. D.
A charming likeness to her face or to her eyes does not exist (any where)
29 & 30
उपमानधर्म-
लुप्ताः
गाहितमखिलं विपिनं परितो दृष्टाश्च विटपिनः सर्वे।
सहकार ! न प्रपेदे मधुपेन तथापि ते समं जगति॥
R.S.
All the forest has been explored and all the trees were seen; still O mango tree! thy likeness in the world was not obtained by this bee.
Here, there is the omission of the upamāna and of the common attribute in a sentence. If we remove the words ’ तथापि ते समम्, and substitute भवत्समम्, we have the same in a compound.
31
उपमेयलुप्ता
अरातिविक्रमालोकविकस्वरविलोचनः।
कृपाणोदग्रदोर्दण्डः स सहस्रायुधीयति॥
S. D.
He (a king) whose eyes expanded on seeing (his) enemies’ prowess and whose strong arm (lit., stick-like arm) is fearful with the sword behaves as if he is wielding thousand weapons.
Here, in सहस्रायुधीयति = सहस्रायुधमिव आत्मानमाचरति, we have the omission of the upameya आत्मानम् only.
32
उपमेयधर्म-
लुप्ता
यशसि प्रसरति भवतः क्षोरोदीयन्ति सागराः सर्वे॥
S. D.
When the fame of thy honor has pervaded, all the oceans act the Milky-sea.
Here, in क्षीरोदीयन्ति = क्षीरोदमिव आत्मानमाचरन्ति, we have the omission of the upameya ‘आत्मानम्’ and of the common attribute ’ शुक्लता = whiteness’.
S. D. mentions two other varieties of उपमा, viz., मालोपमा and रशनोपमा.
मालोपमा – Garland of Similes.
Def. When one object is compared to many, or in other words, when one upameya is compared to many upamānas, it is called मालोपमा.
Ex
.
वारिजेनेव सरसी शशिनेव निशीथिनी।
यौवनेनेव वनिता नयेन श्रीर्मनोहरा॥
S. D.
Fortune attended with morality charms the heart as a lake with the lotus, as night with the moon, as a damsel with bloom of youth.
**रशनोपमा —**Girdle of Similes.
Def. When the upameya in the first comparison is made the upamāna in the second, and so on, it is called रशनोपमा.
चन्द्रायते शुक्लरुचापि हंसो
हंसायते चारुङ्गतेन कान्ता।
कान्तायते स्पर्शसुखेन वारि
वारीयते स्वच्छतया विहायः॥
S. D.
The swan, even by its white lustre, behaves like the moon; this beautiful maiden by her lovely gait acts like the swan; the water by its gratifying touch resembles a beautiful maiden; and the sky by its pellucidness resembles the water.
17. **प्रतिवस्तूपमा—**Typical Comparison.
Ex
.
खलास्तु कुशलाः साधुहितप्रत्यूहकर्मणि।
निपुणाः फणिनः प्राणानपहर्तुं निरागसाम्॥
R. S.
The wicked people are expert in working obstacles to the wellbeing of the good. The serpents are clever in taking away the lives of the innocent,
Here, कुशलाः and निपुणाः are similar attributes. This ornament is also found in a series—माला- प्रतिवस्तूपमा.
Ex.
वहति विषधरान् पटीरजन्मा
शिरसि मसीपटलं दधाति दीपः।
विधुरपि भजतेतरां कलङ्गम्
पिशुनजनं खलु बिभ्रति क्षितीन्द्राः॥
R. S.
The sandal tree bears serpents. The lamp has on its head a mass of soot. The moon too possesses a black spot. The kings foster the tale-beares.
Here, वहति, दधाति, भजते and बिभ्रति are similar attributes.
**18. दृष्टान्तः—**Exemplification.
Ex.
सत्पुरुषः खलु हिताचरणैरमन्द-
मानन्दयत्यखिललोकमनुक्त एव।
आराधितः कथय केन करैरुदारै-
रिन्दुर्विकासयति कैरविणीकुलानि॥
R. S.
Certainly, a good man without being urged (by any body) gladdens the whole world, not a little, by his agreeable behaviour. Propitiated by whom, tell me, does the moon cause the assemblages of blue lotuses to blow by his illustrious rays ?
**27. अप्रस्तुतप्रशंसा —**Indirect Description.
The principal feature of this figure is that the description of the अप्रस्तुत, i.e., what is not the subject-matter, must convey a reference to the प्रस्तुत i.e., the subject-matter. S. D., K. P. and R. S., mention five varieties of this figure :—
कार्ये निमित्ते सामान्ये विशेष प्रस्तुते सति।
तदन्यस्य वचस्तुल्ये तुल्यस्येति च पञ्चधा॥
** कार्ये प्रस्तुते सति =** when an effect is the subject-matter, तदन्यस्य वचः= the description of its contrary, ie., cause (कारण); निमित्ते प्रस्तुते सति = when a cause is the subject-matter, तदन्यस्य वचः the description of its contrary, i.e., the effect (कार्य); सामान्धे प्रस्तुते सति = when a general is the subject matter, तदन्यस्य वचः the description of its contrary, i.e., the particular (विशेष); विशेष प्रस्तुते सति = when a particular is the subject matter, तदन्यस्य वचः = the description of its contrary, i.e., the general (सामान्य); तुल्ये प्रस्तुते सति when a similar thing is the subject matter, तुल्यस्य वचः = the description of another similar thing; इति = in this manner, पञ्चधा five-fold.
When the subject-matters in hand are (1) an effect (2) a cause, (3) a general, (4) a particular, the descriptions of their contraries, i.e., cause, effect, particular, general, respectively and when (5) a similar thing is the subject-matter, the description of another similar thing, (or in other words, when the descriptions of (1) a cause, (2) an effect, (3) particular, (4) a general, and (5) a similar thing convey reference to (1) effect, (2) cause, (3) the general, (4) the particular and (5) another similar thing which are respectively in question, such descriptions) are called the five varieties of this figure.
Examples in their order.
(1) Effect is understood from the description of a cause.
आनम्य वल्गुणुवचनैर्विनिवारितऽपि
रोषात्प्रयातुमुदिते मयि दूरदेशम्।
बाला कराङ्गुलिनिदेशवशंवदेन
क्रीड़ाबिड़ालशिशुनाशु रुरोध मार्गम्॥
R. S.
When I began to start, through anger, for a distant countrythough I was obstructed, by sweet words, (by my lady) bending onh er knees, that young maiden immediately arrested my way by her sportive kitten acting obedient to her will pointed out by her fingers.
Here, the cause, the lady’s act, is described, when the effect, the prevention of her lover’s departure is to be understood.
(2) Cause is understood from the description of an effect.
इन्दुर्लिप्त इवाञ्चनेन जड़िता दृष्टिर्मुगीणामिव
प्रम्लानारुणिमेव विद्रुमदलं श्यामेव हेमप्रभा।
कार्कश्यं कलया च कोकिलवधूकण्ठेष्विव प्रस्तुतं
सीतायाः पुरतश्च हन्त शिखिनां वर्हाः सगर्हा इव॥
S. D.
Alas! In the presence of Sītā, the moon looked as if besmeared with lamp-black, the eyes of the does appeared to practice stupefaction, the vidruma leaf seemed to have attained faded redness, the lustre of the gold became black, harshness seemed to have resided in the throats of the female cuckoos when they uttered sweet notes, and the tails of the peacocks deserved consure.
Here, from the supposed effects of the moon being besmeared with the lamp-black etc., their causes, the extraordinary beauty of the face etc. of Sītā, are understood.
(3) The particular is understood from the description of a general.
कृतमपि महोपकारं पय इव पीत्वा निरातङ्गः।
प्रत्युत हन्तुं यतते काकोदरसोदरः खलो जगति॥
R. S.
In this world a wicked man, the type of a serpent, swallowing up even the great favour done (to him) like milk fearlessly tries on the contrary to kill (his benefactor).
Here, the description of a wicked man in general conveys a reference to a particular person, before the speaker, the subject matter,
(4) A general is understood from the description of the particular.
हारं वक्षसि केनापि दत्तमज्ञेन मर्कटः।
लेढ़ि जिघ्रति संक्षिप्य करोत्युन्नतमासनम्॥
R. S.
The monkey, on whose bosom a necklace was placed by some ignorant fellow, licks and smells it (necklace) and compressing the same makes it to serve as a high seat (for himself).
Here, the description of the particular which is not the subject matter refers to a general statement that ignorant persons should not be placed in possession of charming and valuable things which they do not deserve. Compare the proverb. “To throw pearls before swine”.
(5) A similar thing is understood from the description of another, similar to it—
जनकः सानुविशेषो जातिः काष्ट भुजङ्गमैः सङ्गः।
स्वगुणैरेव पटीरज ! यातोऽसि तथापि महिमानम्॥
Bhāminīvilāsa.
O Sandal tree! Thy father (native place) is a particular mountain (Malaya); thy creed is wood; and thy association is with the serpents; still thou hast attained to the greatness by thy own good qualities.
Here, the description of the sandal tree conveys a reference to a similar object, a good person born of a low caste and living amidst villains.
45. **व्याघातः—**Frustration.
S. D. defines this figure thus:—‘Frustration is when by the same means that one employed in bringing a thing to a particular state, another brings it to
an opposite one’ —and quotes the following as an example
दृशा दग्धं मनसिजं जीवयन्ति दृशैव याः।
विरूपाक्षस्य जयिनीस्ताः स्तुमो वामलोचनाः॥
We eulogize the fair-eyed women, the conquerors of God Śiva of uneven (lit. deformed) eyes in that they (women) with their eyes restore to life the God of Love who was burnt by the eye (of God Śiva).
**53. परिसंख्या—**Special Mention.
S. D. defines this figure thus:—
’ When with, or without a query, something is affirmed for the denial, expresssed or understood, of something else similar to it, it is Special Mention.’
Ex.
किं भूषणं सुदृढ़मत्र यशो न रत्नं
किं कार्यमार्यचरितं सुकृतं न दोषः।
किं चक्षुरप्रतिहतं धिषणा न नेत्रम्
जानाति कस्त्वदपरः सदसद्विवेकम्॥
What is an imperishable (lit. very firm) ornament here (in this world) ?—fame, not a gem. What ought to be performed?— a good deed practised by the venerable men, and not a crime. Which is called an unimpeded eye?— the intellect, not the eye (itself). Who else than thee (O king!) knows the discrimination between good and evil.
Here, a gem etc., which are to be denied as an ornament etc., are expressed, each preceded by a query.
किमाराध्यं सदा पुण्यं कश्च सेव्यः सदागमः।
को ध्येयो भगवान् विष्णुः किं काम्यं परमं पदम्॥
What is ever to be practised—virtue.7 What is to be resorted to— the study of good science. Who is to be meditated upon the God Vishnu. Which is to be desired the abode of Vishnu or final beatitude.
Here, sin etc., which are to be denied, are under stood, here also preceded by a query.
Without queries:—
भक्तिर्भवे न विभवे व्यसनं शास्त्रे न युवतिकामास्त्रे।
चिन्ता यशसि न वपुषि प्रायः परिदृश्यते महताम्॥
Devotion to God Śiva and not to riches, intent attachment to the science and not to young maiden, the weapon of God of Love; anxiety for fame and not for body are generally found in the great.
Here, things to be denied are expressed.
बलमार्त्तभयोपशान्तये विदुषां सम्मतये बहुश्रुतम्।
वसु तस्य न केवलं विभोर्गुणवत्तांऽपि परप्रयोजनम्।
The strength of that lord is for quelling the fear of the distressed. His great learning is for honouring the scholars. Not only his riches but his possession of good qualities too are for the purpose of others.
This figure founded upon a Paronomasia is more striking. For example see the text.
58. **प्रत्यनीकम् —**Rivalry.
Ex
.
मध्येन तनुमध्या मे मध्यं जितवतीत्ययम्।
इभकुम्भौ भिनत्त्यास्याः कुचकुम्भनिभौ हरिः॥
This slender-waisted maiden vanquished my waist with hers’—so thinking, the lion cleaves the frontal globes (on the forehead) of the elephant which resemble the jar-like bosoms of that lady.
Here, the lion unable to avenge itself directly on the lady, its conqueror in vanquishing its waist by hers, cleaves the frontal globes, of the elephant, which have a connection of resemblance with the circular bosoms of the lady. This kind of description proves the excellence of the waist of the lady.
60. **काव्यलिङ्गम् —**Poetical Reason.
Def. When a reason is implied in a sentence or in a word or words, it is called Poetical Reason.
Ex
.
वपुःप्रादुर्भावादनुमितमिदं जन्मनि पुरा
पुरारे ! न प्रायः क्वचिदपि भवन्तं प्रणतवान्।
नमन्मुक्तः संप्रत्यहमतनुरग्रेऽप्यनतिभाक्
महेश ! क्षन्तव्यं तदिदमपराधद्वयमपि॥
O God Śiva (lit. Destroyer of 3 cities)! By this (my) body coming into existance, it must be inferred that I never saluted thee in any of my previous births. And now saluting thee, I am emancipated; and I therefore, bodiless, cannot salute thee in my future birth. Thus these two faults of mine should be pardoned O Great Lord
Here, non-salutation becomes the reason for the faults committed and this fact is expressed by two sentences.
** अतनुः—**’non-assumption of the body’ is the reason for अग्रे अनतिभाक् ’non-salutation in the future birth’ and we have काव्यलिंग in a single word. नमन्मुक्तः ‘final emancipation by saluting’ is the reason for अतनुः ’non-assumption of the body and this fact having been expressed by two words नमन्मुक्तः, we have the Poetical Reason in more than one word.
- N.B.—This figure occuring in a sentence should not be confounded with the figures अर्थान्तरन्यास ‘Tran- sition’ (59) nor with अनुमानम् ‘Inference’;8 * on this, S. D. says as follows:—* In the province of poetry the reason is three-fold, as being Informative, Completive and Justificative (or Confirmative). Of these three sorts, the Infirmative Reason is the subject of the figure Inference, the Completive of the Poetical Reason and the Justificative of the Transition. Thus the Transition founded upon a causation is evidently distinct from the Poetical Reason.’
S. D. defines it thus:—The notion, expressed in a peculiarly striking manner, of a thing established by proof, is termed Inference,’ and exemplifies thus:—
यत्र पतत्यबलानां दृष्टिर्निशिताः पतन्ति तत्र शराः।
तच्चापारोपितशरी धावत्यासां पुरः स्मरो मन्ये॥
‘Wherever falls the sight of women, there fall sharpened arrows; Hence, I infer, Cupid runs before them with his bow furnished with shafts.’
**92. वक्रोक्तिः—**Crooked Speech.
** काकु** ‘Emphasis’ is an emotional alteration of the sound or an affected change of voice in such a manner as to imply the contrary meaning of the expression employed by the speaker.
Ex.
असमालोच्य कोपस्ते नोचितोऽयमितीरिता।
नैवोचितोऽयमिति तं ताड़यामास मालया॥
‘Lady! Thy anger is an inconsiderate one and is not just;’thus told (by her lover), she saying (in a prolated and affected tone) ‘NOT just’ gave him a blow with her garland.
**95. उदात्तम्—**The Exalted.
Example of the description of prosperity.
रत्नस्तम्भेषु संक्रान्तैः प्रतिबिम्बशतैर्वृतः।
ज्ञातो लंकेश्वरः कृछ्रादाञ्जनेयेन तत्वतः॥
Rāvaņa surrounded by the innumerable images of his own reflected in the jewelled pillars (of his palace) was with great difficulty recognized by Hanümän (lit. son of अञ्जना).
From this, the super-mundane prosperity of Rāvana, king of Lankā, the object under description, is apprehended.
It is essentially necessary that student should know what is संसृष्टिः ‘Conjunction’ and what is संकरः ‘Commixture’ as they are not treated in this book.
Def. A combination of two or more of the ornaments treated in this book which exist independently of each other in one place is called the Conjunction संसृष्टि. On the contrary, a combination of two or more ornaments, in one and the same place, which are subordinate to one another and about which there is dubiousness is called the Commixture सङ्कर.
Example of Conjunction.
देवः पायादपायान्नः स्मेरेन्दीवरलोचनः।
संसारध्वान्तविध्वंसहंसः कंसनिसूदनः॥
May that God (Krishna) of the blooming lotus-like eyes the Slayer of Kamsa the Sun in annihilating the darkness of this worldly life protect us from calamity. (हंस = Sun).
In the compound स्मेरे०, we have an Elliptical Simile No. 1 in the omission of the word implying comparison; and in the compound संसा०, we have a Metaphor by the superimposition of the God Sun upon Krishna. These two ornaments exist in the same place independently of each other.
Example of Commixture.
इदमाभाति गगने भिन्दानं सन्ततं तमः।
अमन्दनयनानन्दकरं मण्डलमैन्दवम्॥
This lunar orb dispelling the thick darkness and causing excessive delight to the eyes shines in the sky.
This can be taken as:—
(1) अप्रस्तुतप्रशंसा—
Indirect Description, as this description of the resplendent moon shining in the sky—
the object not on hand—
conveys a reference
to a beautiful dame standing on the top of a skykissing mansion, her circular face alone being visible above the parapet wall;
(2) A Metaphor No. 1 अनुभयाभेदरूपकम् as the moon’s orb is superimposed upon a fair face intimated by the pronoun ‘इदम् = this’;
(3) अतिशयोक्ति No.1 (रूपकातिश्योक्ति = Metaphorical Hyperbole), through the introsusception of the circular face in the orb of the moon;
** (4) पर्यायोक्तम्—Periphrasis, as the advent of the night that excites delight in the minds of the united lovers the fact to be intimated by the speaker—has been expressed by a turn of speech—**the description of the moon;
**(5) समासोक्ति —**Modal Metaphor, as the face inti- mated by ‘इदम् —this’ **—**the object not on hand, is understood by the description of the moon—the object on hand, from a sameness of action, i.e., the action of expelling the darkness of the night by their splen- dours;
**(6) तुल्ययोगिता —Equal Pairing, as the face and the lunar orb which can be taken as objects on hand are associated with a sameness of attributes—**shining and expelling the darkness;
** (7) दीपकम् —**Illuminator, as the face and the lunar orb the former of which is now taken as the object on hand and the latter as one not on hand are together associated with one and the same attribute—the verb आभाति; and so on.
As we have here a dubiousness about all these ornaments, this figure is called सङ्कर।
All the Alankāras treated in this book may be classified under the following heads :—
I. Figures founded on Similarity—
औपम्यमूलाः।
| 1. उपमा | |
| 2. अनन्वय | |
| 3. उपमेयोपमा | |
| 4. प्रतीप | |
| 5. रूपक | |
| 6. परिणाम | |
| 7. उल्लेख | |
| 8. स्मृतिमान् | |
| 9. भ्रान्तिमान् | |
| 10. सन्देह | |
| 11. अपह्नुति | |
| 12. उत्प्रेक्षा | |
| 13. अतिशयोक्ति 1st and 2nd kinds. | 76. पूर्वरूप |
| 14. तुल्ययोगिता | |
| 15. दीपक | |
| 16. आवृत्तिदीपक | |
| 81. उन्मीलित | |
| 82 विशेषक |
II. Figures founded on Contrast. — विरोधमूलाः।
| 13. अतिशयोक्ति 3rd and 4th kinds | 42.अल्प |
| 33. विरोधाभास | |
| 38. विषम | |
| 41. अधिक | |
| 94.भाविक | |
| 97.निरूक्ति |
III. Figures adhering to, or violating, the law of causation.
| 13. अतिशयोक्ति 5th, th and 7th kinds. | 40. विचित्र |
| 34. विभावना | |
| 35. विशेषोक्ति | |
| 36. असंभव | |
| 37. असंगति | |
| 100. हेतु |
IV. Figures relating to the Logical connection of words in a sentence. – वाक्यन्यायमूलाः।
| 50. यथासंख्य | |
| 53. परिसंख्या | |
| 74. रत्नावली |
V. Figures relating to the Logical connection of senses of two sentences. –
तर्कन्यायमूलाः।
| 60. काव्यलिंग |
| 61.अर्थान्तरन्यास |
| 62. विकस्वर |
VI. Figures founded on Universality.—
लोकव्यवहारमूलाः।
| 22. विनोक्ति | |
| 39. सम | |
| 51. पर्याय | |
| 52. परिवृत्ति | |
| 57. समाधि | |
| 58. प्रत्यनीक | |
| 64. संभावना | |
| 65. मिथ्याध्यवसिति | |
| 67. प्रहर्षण | |
| 68. विषादन |
| 99. विधि |
VII. Figures founded on Dissimulation.—
अपह्नवमूलाः।
| 30. व्याजस्तुति | |
| 31. व्याजनिन्दा | |
| 32. आक्षेप | 87. गूढोति |
| 83. उत्तर | |
| 84. सूक्ष्म | |
| 92. वक्रोक्ति |
VIII. Figures founded on striking chain-like
description.—शृंखलावैचित्र्यमूलाः।
| 46. कारणमाला | |
| 47.एकावली |
IX. Figures founded on striking epithets.—
विशेषणवैचित्र्यमूलाः ।
| 24. परिकर |
X. Figure relating to convention of Poets.—
कविसमयमूलः ।
| 73. मुद्रा |
_________
Mutual distinctions of some of the more important
Figures treated in this book.
DISTINCTION OF—
उपमा
1
प्रतीप
4
and
उत्प्रेक्षा
12
In UPAMA, we have a striking expressed resemblance that has been sanctioned by convention of poets and that will exite poetical delight and give an agreeable surprise. In PRATIPA, we have not got that striking resemblance. The usual form of comparison is inverted and the excellence of upameya over upamāna is implied. In UTPREKSHA, we have a more stricking suggested resemblance not confined to the convention of poets but solely due to the imaginative skill of the poet.
उपमा
1
and
अनन्वय
2
In UPAMA, the comparison is between two distinct objects–upameya and upamāna. In ANANVAYA, one and the same object is compared, i.e., to itself in the absence of a second thing to be compared to. The resemblance is not a striking one.
उपमा
1
and
उपमेयोपमा
3
In UPAMA, we have the comparison in one sentence. In the other, we have the reciprocal comparison between two distinct objects and the reciprocation is possible only in two sentences. The comparision is not a striking one.
उपमा
1
and
रूपक
5
In UPAMA, the comparison is expressed. In RUPAKA, the comparison is not expressed but is suggested between two distinct objects represented as identical.
उपमा
1
and
व्यतिरेक
20
In UPAMA, the comparison is not accompanied with a difference. In VYATIREKA, the difference is also stated, i.e., comparison is stated in one respect and denied in another respect.
उपमा
1
and
श्लेष
26
In UPAMA, we have real expressed resemblance resting in the senses of words. In SLESHA, the suggested resemblance rests in mere words with out reference to their meanings.
रूपक
5
and
अतिशयोक्ति
No. 1
(13)
In RUPAKA, two distinct objects―upamāna and upameya―are represented as identical on account of their close resemblance. In ATISAYOKTI No. 1, upameya is comprehended as identical with upamāna through introsusception and is expressed by the word representing the upamāna.
रूपक
5
and
अपह्नुति
11
In RUPAKA, upamāna and upameya are identified without their distinct characters being concealed. In APAHNUTI the real character of the upameya is concealed, i.e., denied and that of another imaginary upamāna is superimposed upon it.
रूपक
5
and
भ्रान्तिमान्
9
In RUPAKA, the identification is not a mistaken one. In BHRANTIMAN, it is mistaken one.
परिणाम
6
and
रूपक
5
In PARINAMA, the act of the sentient upameya is transferred to the upamāna. In RUPAKA, the upamāna is not connected with any act of the upameya.
उल्लेख
7
and
रूपक
5
In ULLEKHA, the upameya isl ooked upon as identical with severlupamānas by one or different perceiverst hrough difference of peculiarities according to their taste. In RUPAKA,
the upameya is simply identified with one or many upamānas on account of their close resemblance only and not under any differential peculiarity.
स्मृतिमान्
8
भ्रान्तिमान्
9
and
संन्देह
10
In SMRITIMAN, the sight of the upamāna brings to the mind of the beholder the recollection of the upameya. In BHRANTIMAN, we mistake upameya for upamāna. In SANDEHA, we doubt the certainty of an object—whether it is upamāna or upameya.
अपह्नुति
11
व्याजोक्ति
86
and
आक्षेप
32
In APAHNUTI, the upameya is denied, i.e., is concealed and some other, i.e., upamāna is imposed upon it. In VYAJOKTI, we have the artful concealment of an object, though discovered, which is not mentioned by the person who conceals the same. AKSHEPA, we have only a semblance of denial, i.e., a pretended denial of what has been said by the speaker himself.
उत्प्रेक्षा
12
and
अतिशयोक्ति
No.1
(13)
In UTPREKSHA, the introsusception is not complete, i.e., the upameya is fancied under the character of upamāna. In ATISAYOKTI, the introsusception is complete, as the upameya which is comprehended as upamāna is
not mentioned and is expressed by the word expressing the upamāna.
उत्प्रेक्षा
12
and
भ्रान्तिमान्
9
In UTPREKSHA, the poet who entertains the fancy is fully aware of the distinct nature of the upameya to which he attributes the imaginary character— upamāna. In BHRANTIMAN, the person who mistakes the upameya for upamāna is not conscious of the upameya—the subject mistaken, on account of its close resemblance with the upamāna.
उत्प्रेक्षा
12
and
संदेह
10
In UTPREKSHA, the fancied upamāna is apprehended more prominently than the upameya. In SANDEHA, both upamāna and upameya are apprehended as equally prominent on account of their close resemblance which creates a doubt in the mind of the perceiver who is therefore unable to decide whether the object before him is really upameya or upamāna itself.
तुल्ययोगिता
14
and
दीपक
15
In TULYAYOGITA, we have the sameness of attribute of objects on hand, or of objects not on hand. In DIPAKA, the objects on hand and those not on hand are together associated with one and the same attribute mentioned only nonce. (See pages 46 and 47.)
प्रतिवस्तूपमा
17
दृष्टान्त
18
निदर्शना
19
and
अर्थान्तरन्यास
61
In PRATIVASTUPAMA, we have a parallel representation of the same common attribute expressed by different words. In DRISHTANTA, we have a reflective representation of similar attributes. (See page 50.) In PRATIVASTUPAMA, the two sentences* employed terminate in conveying the same sense.In DRISHTANTA, the sentences * have a similar sense reflectively expressed. In NIDARSANA, the senses of two sentences†terminate in a comparison. In ARTHANTARANYASA, we have the relation of general and particular between the senses of two sentences employed one of which serves to illustrate the other.
व्यतिरेक
20
मीलित
79
सामान्य
80
उन्मीलित
81
and
विशेषक
82
In VYATIREKA, we have an expressed resemblance accompanied by a difference. In MILITA, we have a suggested resemblance; but the difference between upameya and upamāna is not perceivable on account of the one having been eclipsed by the other, i.e., the upameya, inferior in quality, is not at all apprehended by its being eclipsed by the upamāna, superior in quality. In SAMANYA, the two objects, upa-
________________________________________________________________
* Are independent of each other. † Are dependent upon each other.
māna and upameya, could not be distinguished on account of their having like properties and in the absence of any discriminating peculiarity. In MILITA, the inferior object gives up its own quality. In SAMANYA, both the objects do not give up their qualities. In UNMILITA, the difference which was not perceivable as in MILITA, becomes manifest by some act of the perceiver. In VISESHAKA, the discriminating peculiarity which was absent in SAMANYA becomes manifest by the accidental operation of another agency.
समासोक्ति
23
अप्रस्तुतप्रशंसा
27
पर्यायोक्तम्
29
and
व्याजस्तुति
30
In SAMASOKTI, the object not on hand, aprastuta, is intimated by the des- cription of an object on hand, prastuta. In APRASTUTAPRASAMSA, the object on hand is intimated by the description of an object not on hand. In PARYAYOKTAM, what is to be intimated is expressed by a turn of speech―by words which do not express it but by words which suggest it. In VYAJASTUTI, praise is understood by apparent censure and censure is understood by apparent praise.
विभावना
34
In VIBHAVANA, we have an effect in the absence of a cause. In VISE–
विशेषोक्ति
35
विरोध
33
असंगति
37
विषम
38
व्याघात
45
प्रौढ़ोक्ति
63
and
हेतु
100
SHOKTI, we have an absence of the effect notwithstanding the existence of a cause, or in other words, we have a cause without an effect. In VIRODHA, we have both the objects represented as apparently contradicting each other. In ASANGATI, we have a cause and the effect represented as occupying two different localities. In VISHAMA, we have a cause opposed to its effect. In VYAGHATA, we have one and the same cause producing different effects— one natural and the other the exact opposite. In PRAUDHOKTI, we I have simply an attribution of a cause to an effect as boldly asserted by the poet which cause cannot form the cause of that effect. In HETU 2ND SORT, we have a cause identified with its effect.
पर्याय
51
and
विशेष
44
In PARYAYA, we have one object residing in many places, or many objects in one and the same place, in succession. In VISESHA 2ND KIND, we have one object existing in many places, i.e., residing in many places simultaneously.
समाधि
57
and
समुच्चय
55
In SAMADHI, the effect of an act through one cause is facilitated by the accidental operation of another cause and this cause is therefore more powerful than the other and hence we have in
samadhi unequal causes. In SAMUCHCHAYA 2ND KIND, all causes are equally powerful in bringing out the same effect with emulation as the Maxim of the Threshing floor and the Pegions*9, i.e., just as the pegions alight together upon a threshing floor, each with emulation.
अर्थान्तरन्यास
61
and
काव्यलिंग
60
In ARTHANTARANYASA, have two statements one of which illustrates the other, i.e., one contains a justificative reason for confirming the other and thus we have here a relation of general and particular. In KAVYALINGA, one statement forms an implied completive reason for the other and we have no such relation of the general and the particular.
तद्गुण
75
and
मीलित
79
In MILITA, an object of inferior quality is lost in the superior quality of the other. In TADGUNA, the object gives up its own inferior quality and assumes the superior quality of the other.
उत्तर
83
परिसंख्या
53
and
In UTTARA, we infer from a statement made that a question has been previously made. In PARISANKHYA 2nd kind (see Appendix), we have both question and answer. In
काव्यलिंग
60
KAVYALINGA, the reason which is not preceded by a question is an implied one and is to be inferred by the student from the context.
स्वभावोक्ति
93
and
भाविक
94
In SVABHAVOKTI, we have an exact delineation of an object with reference to its peculiar action or natural appearance as is perceived by the poet alone. In BHAVIKA, we have a description of an event past or future in such a manner as can bring the subject of description vividly before the mind’s eye.
प्रणम्य परमात्मानमांग्लभाषानुवादिनी।
कृता कुवलयानन्दकारिकाविवृतिर्मया॥
THE END.
INDEX.
| अक्रमातिशयोक्तिः | उपमा (1) 1-13, 143 |
| अतद्गुणः (77) | उपमावाचकशब्दाः |
| अतिशयोक्तिः (13) | Do. प्रत्ययाः |
| अत्यन्तातिशयोक्तिः | उपमेयोपमा (3) |
| अत्युक्तिः (96) | उल्लासः (69) |
| अधिकम् (41) | उल्लेखः (7) |
| अनन्वयः (2) | एकावली (47) |
| अनुगुणः (78) | कवि -समयाः |
| अनुज्ञा (71) | कारकदीपकम् (56) |
| अनुमानम् | कारणमाला (46) |
| अन्योन्यम् (43) | काव्यलिङ्गम् (60) |
| अपह्नुतिः (11) | काव्यार्थापत्तिः (59) |
| अप्रस्तुतप्रशंसा (27) | कैतवाह्नुतिः |
| अर्थान्तरन्यासः (61) | गूढ़ीक्तिः (87) |
| अर्थापत्तिः (59) | चपलातिशयोक्तिः |
| अल्पम् (42) | छेकापह्नुति |
| अवज्ञा (70) | छेकोक्तिः (91) |
| असंगतिः (37) | तद्गुणः (75) |
| असम्बन्धातिशयोक्तिः | तुल्ययोगिता (14) |
| असंभवः (36) | दीपकम् (15) |
| आक्षेपः (32) | दृष्टान्तः (18) |
| आवृत्तिदीपकम् (1) | निदर्शना (19) |
| उत्तरम् (83) | निरुक्तिः (97) |
| उत्प्रेक्षा (12) 3 | परिकरः (24) |
| उदात्तम् (95) | परिकराङ्कुरः (25) |
| उन्मीलितम् (81) | परिणामः (6) |
| परिवृत्तिः (52) | ललितम् (66) |
| परिसंख्या (53) | लेशः (72) |
| पर्यस्तापह्नुतिः | लोकोक्तिः (90) |
| पर्यायः (51) | वक्रोक्तिः (92) |
| पर्यायोक्तम् (29) | विकल्पः (54) |
| पिहितम् (85) | विकस्वरः (62) |
| पूर्वरूपम् (76) | विचित्रम् (40) |
| प्रतिवस्तूपमा (17) | विधिः (99) |
| प्रतिषेधः (98) | विनोक्तिः (22) |
| प्रतीपम् (4) | विभावना (34) |
| प्रत्यनीकम् (58) | विरोधाभासः (33) |
| प्रस्तुतांकुरः (28) | विवृतोक्तिः (88) |
| प्रहर्षणम् (67) | विशेषः (44) |
| प्रौढ़ीक्तिः (63) | विशेषकः (82) |
| भाविकम् (94) | विशेषोक्तिः (35) |
| भेदकातिशयोक्तिः | विषमम् (38) |
| भ्रान्तापह्नुतिः | विषादनम् (68) |
| भ्रान्तिमान् (9) 25, 26, | व्यतिरेकः (20) |
| मालादीपकम् (48) | व्याघातः (45) |
| मालाप्रतिवस्तूपमा | व्याजनिन्दा (31) |
| मालोपमा | व्याजस्तुतिः (30) |
| मिथ्याध्यवसितिः (65) | व्याजोक्तिः (86) |
| मौलितम् (79) | शुद्धापह्नुतिः |
| मुद्रा (73) | श्लेषः (26) |
| यथासंख्यम् (50) | संसृष्टि |
| युक्तिः (89) | सङ्करः 159, |
| रत्नावली (74) | सन्देहः (10) |
| रशनोपमा | समम् (39) |
| रूपकम् (5) | समाधिः (57) |
| रूपकातिश्योक्तिः शुद्धा | समासोक्तिः (23) |
| समुच्चयः(55) | सारः(49) |
| सम्वन्धातिशयोक्तिः | सूक्ष्मम्(84) |
| संभावना(64) | स्मृतिमान्(8) |
| सहोक्तिः(21) | स्वभावोक्तिः(93) |
| सापह्नवरूपकातिशयोक्तिः | हेतुः(100) |
| सामान्यम्(80) | हेत्वपह्नुतिः |
]
-
“* The foes of the speaker.” ↩︎
-
“चतुरं आस्यं यस्य सः " ↩︎
-
“चत्वारि आस्यानि यस्य सः” ↩︎
-
" The pearl has been eclipsed by the lady’s lip.” ↩︎
-
“In the season in which panchama note becomes manifest.” ↩︎
-
“Or the King Venkata, the patron of our author Appaya Dikshita.” ↩︎
-
" ‘and not sin’ is understood." ↩︎
-
“This figure is not treated in this book.” ↩︎
-
" खले कपोतिकान्यायः" ↩︎